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CCFBUGHT DEPOSIT. 



The Dress You Wear 

and 

How to Make It 



By 

Mary Jane Rhoe 



Illustrated 



G. P. Putnam's Sons 

New York and London 
Gbe flmfcfeetbocfter press 

1918 



^ 



• 






Copyright, 191 8 

BY 

MARY JANE RHOE 



NOV -4 1913 



Ubc Iknicfeerbocfeer press, IRcw l^orfc 



CI.A506431 
^M v < < 



There is no question in my mind about this 
text being a very practical and helpful one. 
The author tested out every one of its lessons 
in our class rooms before deciding to publish 
them in book form. She is not offering, 
therefore, theories and unused plans, merely 
hoping that everything will work out all 
right. 

There is certainly a need for such a book as 
Mrs. Rhoe's. Oral instruction in dressmaking 
and plain sewing is not sufficient where one 
desires the best possible results. The student 
needs to listen to the oral instruction given 
by the teacher, but she learns her sewing 
problems quicker and better if she has the 
opportunity when alone to read and re-read 
her teacher's printed directions and explana- 
tions. 

The matter in the book is presented so 
simply that our evening school students had 
no trouble in understanding its directions. 

iii 



This statement means much when we con- 
sider that many evening school students are 
adults who do not have the opportunity to 
complete even the eighth grade when in 
school. The simple presentation causes no 
lack of interest, however, on the part of the 
more advanced student. The text appeals 
strongly to all who use it. These are not 
guesses and predictions. Our knowledge in 
this case is born of experience. 

Frank H. Arnold 

Principal Lewis & Clark Evening School 

Spokane, Washington 



PREFACE 

This book is intended to present the 
principal and important details of dress- 
making. It offers a concise system for use 
in evening and vocational schools, which 
are now so thoroughly established, so that 
students may receive in their study hours 
the very essence of the art. The author has 
endeavored to make the lessons so plain, so 
practical, and so condensed that the young 
girl, as well as the woman of mature years 
may advance rapidly. 

It will solve problems for the home dress- 
maker and the busy Madame in her shop. 

Dressmaking is one of the most interesting 
studies, also one of the most important that 
we have to-day. 

We should be individual in our dress, yet 
there are rules set by Dame Fashion to which 



VI 



Preface 



we must conform in order to be modern ; this 
requires a thorough knowledge of the art. 

The consciousness of an appropriate and 
becoming costume develops ease of manner. 
On the other hand, poorly fitted and im- 
perfectly made clothes or cheap shoddy 
garments cause embarrassment and self- 
consciousness. 

Over-dress is always bad taste. 

The knowledge of dress for different occa- 
sions is, therefore, not only valuable but 
necessary to every woman, and it is the hope 
of the author that this small volume, the 
result of much experience, will prove of true 
value and assistance to its readers. 

ivi. J. R. 

Spokane, 1918. 



SUGGESTIONS TO TEACHERS 

It is not necessary to follow to the letter 
the order of teaching as given here, but we 
have found it desirable to produce a system 
for the advanced class in dressmaking by 
which students can be given examinations 
and receive credits as in other school work. 

This is an incentive to faithful and con- 
tinued attendance to reach a required stand- 
ard of efficiency. 

It has been arranged for the evening class 
by giving the first half of the last period to 
class work. The change at this time rests 
and relieves those not used to the work. 

Recitations, written or oral, and samplers 
made of all the different stitches, pockets, 
covering cord for ornamental purposes, shirr- 
ing on cord, flat shirring, tucked shirring, 
smocking, buttonholes, eyelets, loops, etc. 

The following lesson to be given should be 



viii Suggestions to Teachers 

assigned and discussed with students to give 
an opportunity for home study. 

Give as much time to class work as can be 
managed, as a large class can be handled with 
more satisfaction to teacher and student 
after these details are understood by the 
class. 



CONTENTS 



CHAPTER I 



Nap 


PAGE 
I 


Right Side of Material 


2 


Suitable Material for Extreme Figures 2 


Selection of Material for Gowns ani 
Suits 


3 


Shrinking 


3 


Taking Measures 


4 


Altering and Testing Patterns. 


5 


Alteration of . Sleeve Pattern . 


15 


Alteration of Skirt Pattern 


16 


Questions ..... 


21 


CHAPTER II 




Equipment ..... 


■ 23 


Dress Form .... 


25 


Pinning Seams before Basting . 


27 


Material Required for a Garment 


28 



Contents 



Fitting a Skirt . 
Questions .... 

CHAPTER III 

Basting .... 

To Prevent Twisting of Two-Piece 
Sleeve 

Basting Velvets and Silks 

Bias or Diagonal Basting 

Padding Stitch . 

Running Stitch . 

Back Stitch 

Combination Stitch 

Questions . 

CHAPTER IV 

Tailors' Tacks ..... 
Over-Handing ..... 
Tailors' Fell Stitch — To Sew in Lining 

Over-Casting 

French Seam 

Hemming ...... 



PAGE 

33 



34 

35 
36 
37 
38 
38 

39 
40 

4i 

42 
43 
44 
45 
46 

47 



Contents 



XI 



Cat-Stitch or Catch-Stitch 






47 


Feather-Stitch . 




48 


Fagoting 






49 


Buttonhole 






5i 


Tailored Buttonhole 






52 


Questions . 






55 


CHAPTER V 


Eyelets 56 


French Knots 








56 


Loops . 








57 


Sewing on Buttons 








58 


Covering Molds 








59 


Smocking 








60 


Sewing on Beads 


• 






63 


Tailors' Pockets 








65 


Bound Buttonhole 








7i 


Patch Pocket 








7i 


Questions . 








73 


CHAPTER VI 


Crow-Foot . 








. 74 



Xll 



Contents 



Arrow-Head 
Plackets 
Cutting Bias 
Shirring Bias Bands 
Bands and Straps 
Milliners' Folds 
Questions . 

CHAPTER VII 

Couching .... 
Covering Cord . 
Shirring over Cord . 
Marking for Hooks and Eyes 
Circular Yokes 
Tucking Circular Skirt 
Questions .... 



PAGE 
7 6 

77 
80 
82 

83 
86 



89 
9i 
93 
95 
96 

97 
102 



CHAPTER VIII 

Getting the Length of the Skirt . 103 
Basting in a Sleeve . . . .106 

Tailors' Seams ..... 108 
Bound Open Welt . . . .108 



Contents 


xiii 




PAGE 


Strap Seam .... 


. 109 


Imitation Strap Seam 


no 


Questions ..... 


. 112 


CHAPTER IX 




Slot Seam ..... 


• 113 


Raw Edge Lap Seam . 


. 114 


Fell Seam ..... 


• 115 


Matching Flowers and Stripes . 


. Il6 


Matching Plaids 


. 117 


Questions ..... 


. 119 


CHAPTER X 





Cutting a Garment so as Not to have 

Two Pieces for One Side . .120 

Length of Skirt for Girls at Dif- 
ferent Ages . . . . .120 

Acid Test for Cloth . . . .121 

Questions ...... 125 

CHAPTER XI 



Pressing 



126 



xiv Contents 



PAGE 



To Take Shine off Worn Garments, or 

from Pressing . . . .128 

Finishing Top of Skirt . . .129 

Questions 133 

CHAPTER XII 

Lines 134 

Combining Colors . . . 137 

Putting Canvas in Front of Coat . 137 

Miscellaneous 143 

About Basting 145 

Cleaning Black Silk . . . .147 



Glossary ...... 151 

Course of Study for Evening Dress- 
making Class . . . .161 



The Dress You Wear 



The Dress You Wear 



CHAPTER I 
Nap 

All wool materials with nap should be cut 
so that the nap runs down. 

All silk materials with nap, such as velvet 
and plushes, with the exception of panne 
velvet should be cut so the nap runs up. In 
panne velvets, the nap runs down. 

If cut so that the nap of one piece of the 
material runs up and another piece runs down 
the effect is a light and a dark shade. 

Velvets and plushes should be brushed so 
the nap stands out. 

To determine which way the nap runs, lay- 
material right side up on work table, with the 
hand brush the material lengthwise to the 



2 The Dress You Wear 

right, then to the left. When brushing 
against the nap the material will feel rough, 
and when brushing with the nap the material 
is smooth. 

Right Side of Material 

To determine the right side of goods in 
serge or diagonal weaves, the twill runs to the 
right on the right side of material. The right 
side in double-fold material is usually folded 
inside. This is done to protect the right 
side from becoming shelf worn or soiled by 
handling while in the store. 

Another good test is to hold the cloth up 
to the light and look across it, the wrong side 
will have a rough look, and usually some un- 
finished ends or small knots are to be seen. 

Suitable Material for Extreme Figures 

Tall, slender figures may wear plaids, fig- 
ured or plain materials, also designs that 



The Dress You Wear 3 

tend to shorten the figure, such as numerous 
flounces, ruffles, overskirts, etc., while short, 
stout figures should wear stripes, small 
checks, and plain materials made in designs 
to bring out the full height. 

It is also important to select colors becom- 
ing to the individual regardless of the prevail- 
ing style. 

Selection of Material for Gowns and Suits 

Soft, light-weight materials are required 
for fancy-draped gowns, heavy materials for 
tailored dresses and suits. 

Shrinking 

It is absolutely necessary that goods be 
shrunken and sponged before being made up. 
First, procure a piece of heavy, unbleached 
muslin a yard wide and one-half yard longer 
than the material, wring muslin out as dry 
as possible after dipping in warm water, lay 



4 The Dress You Wear 

smoothly on table, placing material on top, 
leaving it folded through the center so right 
sides face each other. Leave muslin one- 
half yard to fold over material covering first 
roll. Leave in roll two to four hours, unroll, 
and press thoroughly dry on wrong side of 
goods. 

Taking Measures 

Neck measure should be taken at base 
or lower part of neck. Bust measure close 
up under the arms over full part of 
back and about one inch above the full 
part of bust. This measure is to be easy. 
Waist measure, draw tape tight around the 
waist. 

Front, from lower part of tape around the 
neck to center of tape at waistline. 

Chest measure in line with highest outer 
point of shoulder, half-way between shoulder 
and full part of bust. Have this measure 
as wide as can be worn. 



The Dress You Wear 5 

Width of back, take measure as in chest, 
half-way between top of shoulder and bust 
line, also as wide as can be worn. 

Underarm, from waistline well up under 
the arm. 

Sleeve measurements, length of sleeve out- 
side over elbow with elbow bent. 

Inside length, with arm in natural position 
hanging down. 

Hand measure, around largest part of hand 
over thumb. 

Skirt measure, around the hips seven inches 
from waistline, not tight, but easy. 

Front, from waistline to floor. 

Side, from waistline over fullest part of 
hips to floor. 

Back, from waistline to floor and not too 
close to figure. 

Altering and Testing Patterns 

Become familiar with the pattern before 
using it. 

Measure from neck line in front to perfora- 



The Dress You Wear 




TO LENGTHEN WAIST PATTERN 

tions for waistline, allowing two or three 
inches for blouse if desired. 



The Dress You Wear 




Measure underarm from lowest part of 
armhole to waistline perforations. 

In shirtwaist and in shirtwaist effects 



The Dress You Wear 




ALTERATION FOR SLOPING SHOULDERS 

always leave waistline longer than in one- 
piece dresses, with belt or high waistline, also 
two inches larger at bust than measure taken. 



The Dress You Wear 



ALTERATION FOR SQUARE SHOULDERS 

Test chest and shoulder widths, especially 
for round shoulders, and if necessary cut a 
little wider across shoulders. 



10 



The Dress You Wear 



ALTERATION FOR EXTREME FULL BUST 

If pattern proves too long lay in a fold 
half-way between waistline and armhole 



The Dress You Wear 



ii 




TO SHORTEN WAIST OF PATTERN 



deep enough to relieve the unnecessary 

length. 

For extremely full bust, especially in Prin- 
cess dresses, slash pattern across bust within 



12 The Dress You Wear 




ALTERATION FOR FULL ROUND SHOULDERS 

one and one-half inches of armhole (this 



The Dress You Wear 13 




ALTERATION FOR EXTREME SMALL BUST AND 
FLAT SHOULDERS 

should be done after pattern is pinned up 



14 The Dress You Wear 



ALTERATION FOR EXTREME SMALL BUST AND 
FLAT SHOULDERS 

and tried on the figure). Adjust pattern to 



The Dress You Wear 15 

waistline correctly which will leave open space 
at bust. Slip under the edges of slash, an- 
other piece of paper, pin to pattern on both 
edges of slash to give necessary room for 
bust. 

This same alteration is sometimes neces- 
sary in the back in case of round shoulders. 

This alteration also prevents a draw under 
the arm caused by the large bust lifting the 
garment in front. 

In case of extremely small bust or flat 
shoulders take a fold in pattern to fit figure. 

Alteration of Sleeve Pattern 

The most common difficulty is the sleeve 
that pulls on the back seam from the elbow 
up and frequently under the arms, strongly 
enough to tear the sleeve from the armhole 
before the garment is half worn out. In this 
case the sleeve is too short from the elbow 
up, causing this pull when the elbow is 
used. 

Test pattern by pinning up and trying on 



16 The Dress You Wear 

of sleeve pinned in pattern for the dress, then 
place the hand on the opposite shoulder and 
if this is easily done the sleeve is correct. If 
there is a pull from shoulder to elbow, cut 
upper part longer than pattern. If too long 
from elbow to shoulder in this position when 
elbow of sleeve is also in proper position lay 
fold in pattern sufficient to take out unneces- 
sary length. 

Sleeve may be shortened or lengthened 
below the elbow, but first be sure that the 
elbow of pattern is in correct position on the 
arm. 

In pinning sleeve into armhole the high- 
est point in sleeve top should be placed at 
highest point in armhole at shoulder, and 
lowest point at underarm at lowest point in 
armhole. 

Alteration of Skirt Pattern 

Many of our skirt patterns are cut for high 
waistline which allows from two and one-half 
to three inches above the waist. 



The Dress You Wear 17 

The normal waistline is always marked in 
the front gore usually by two small perfora- 
tions. 

Take measure as previously instructed 
from normal waistline which is located by 
tying a narrow tape around the waist snug. 
It naturally adjusts itself to the smallest part 
of waist which is the proper waistline. 

Measure from waistline to floor in front, 
also over full part of hip and back (allowing 
tape to be farther from figure in back than 
sides and front) and always take measure to 
floor. 

Take from this measure the number of 
inches from the floor you wish your skirt to 
be, allowing for depth of hem in bottom of 
skirt, if it is to be hemmed. If only a little 
too long the bottom of the pattern may be 
turned up two inches, but if more is required 
put a fold through the center of the pattern, 
remember the fold takes out twice its width 
like a tuck. If pattern is too short lengthen 
at the bottom. 



1 8 The Dress You Wear 

After pinning on material for cutting, use 
skirt rule and lay rule alongside edge of 
pattern, allowing it to extend the required 
number of inches and mark both edges of 
pattern from end of pattern down to end 
of extra length while in position. This gives 
you the correct line for the additional length. 

Measure from lower edge of pattern the 
required number of inches to make long 
enough all around, mark every three or 
four inches with tailors' chalk, draw a line 
connecting these marks. This gives you 
the correct length, also keeping the circular 
shape of skirt at the bottom. 

Measure around full part of hips seven 
inches below waistline. This measure should 
be easy like bust measure. A skirt is never 
graceful if too tight around the hips. 

Measure skirt pattern around hips, leav- 
ing it amply large as it is easy to fit in a little, 
but if too small it is not easily altered. 

If skirt proves much too large a tiny fold 
may be taken in center of pattern, again 



The Dress You Wear 19 

remembering the fold takes out twice its 
width and, as you are always using one-half 
of pattern, the same amount will come out 
of the opposite gore for the other side of 
skirt. 

If your pattern is too small around divide 
the amount in half, then divide the half into 
as many parts as you have gores, adding to 
each gore the required amount to make cor- 
rect size. For example: A skirt of seven 
gores would have three gores on each side 
and the front gore with seam in center back. 
Therefore, if skirt was seven inches too small 
there would be one inch to add to each gore 
in width adding one-half inch on each side 
of pattern. This is given as an example of 
extreme case to make the alteration plain. 

In adding to or taking from the width of 
pattern make the same alteration the full 
length of pattern to keep the outline and 
shape of skirt correct. Any other alterations 
should be made in the fitting of the garment. 

If length of back and hip seem too long 



20 The Dress You Wear 

after skirt is correct by front measure, it 
should be lifted a little at the back when skirt 
is fitted and a little taken from the top in 
back. This will prevent a flat look in the 
back and also a pouching out at the bottom 
in front. 



Questions 

i. How should the nap of the material run 
on woolen material ? 

2. How should the nap of the material run 
on silk materials such as velvet and plushes ? 

3. How should the nap of the material run on 
panne velvet? 

4. Give suggestions as to finding right side of 
materials. 

5. What materials would you suggest suit- 
able for tall, slender figures? 

6. What care should be taken in selecting 
colors ? 

7. What materials are suitable for fancy- 
draped gowns? What for tailored gowns and 
suits ? 

8 . How do we prepare material before cutting ? 

9. Describe method of shrinking cloth. 

10. Where should the neck measure be taken ? 
Bust? Waist? Front? Chest? Width of 
back ? Underarm ? 

11. What two sleeve measures should be 
taken? Where is the hand measure taken? 

12. What is the first step required in study- 
ing a pattern? 

21 



22 The Dress You Wear 

13. About what difference is there between 
the normal and high waistline? 

14. Describe how to test the entire pattern. 

15. How should you change a pattern for 
full bust ? For round shoulders ? For flat bust ? 
For flat shoulders? 

16. What causes a sleeve to pull on the back 
seam from the elbow up? 

17. How would you test a sleeve pattern? 

18. Describe how to pin a sleeve in the arm- 
hole. 

19. How do we take skirt measures? 

20. How would you shorten a skirt pattern? 

2 1 . How would you lengthen a skirt pattern ? 

22. How would you make a pattern smaller 
around hips ? How larger ? 

23. Give example of enlarging a seven-gored 
skirt. 

24. Is it necessary to make alterations full 
length of skirt ? 

25. How would you correct a skirt if length 
of back and hips are too long? 



CHAPTER II 

Equipment 

It is as necessary that a home dressmaker 
has the proper tools to work with as a car- 
penter. 

Without them one is handicapped in vari- 
ous ways and is liable to find the work a 
discouraging task. 

In these days of advancement and pro- 
gress, even the Home woman is learning 
that there is a limit to endurance, and home 
life and duties should be made a pleasure and 
all work done in a business-like way. 

This, one of the home studies and economic 

feature of the housewife's accomplishments, 

sewing, has been much of a task because of 

lack of knowledge on the subject, also lack of 

equipment. 

This sewing work-shop is as necessary to 
23 



24 The Dress You Wear 

the worker as the kitchen is to the cook. 
Surgeons, doctors, and nurses make equipment 
the first consideration. Yet we take a pair 
of old dull shears and cut uneven edges in 
good material and get along as best we can, 
which is all wrong. 

Let us have everything necessary to turn 
out good work in our home dressmaking 
parlors, so that our work will not look home- 
made. 



Dress form. 
Skirt guage. 

Shears (9 or 10 inches long). 
Paper of needles (No. 7). 
Basting cotton (No. 60). 
Skirt rule 48 inches long, bought at a 
tailors' supply house. 
Tape line. 

Pins, with good points. 
Emery bag. 
Tracing wheel. 
Tailors' chalk. 
Beeswax. 



The Dress You Wear 25 

Tailors' punch, bought at hardware store or 
tailors' supply house (for buttonholes). 

Tailors' cushions (2 sizes). 

Press cloth. 

Sponge. 

Whisk broom. 

Two pressing irons (12 pounds and 6 
pounds) . 

Sewing table. 

Sewing machine. 

Sewing room to be light and airy. 

Dress Form 



To make a dress form satisfactory, one 
that is in form and figure like yourself, one 
that you can really put your dress on and see 
the lines and general effect just as you look, 
is not expensive. You only need to buy a 
cheap form and need not pay over four 
dollars and fifty cents or five dollars for 
same. 

It should be at least one size smaller than 
your own bust measure for this reason : Your 



26 The Dress You Wear 

form and this form will not be just alike (the 
bust on a dress form is usually large). 

A lining should be made of drilling or some 
material that will not stretch. The lining 
should be as long as the body of the form and 
should be cut in at least six sections and fitted 
very snug. If it wrinkles at waistline over 
hips make a small crosswise fold extending 
just far enough and just deep enough to take 
out wrinkles and stitch flat. It should fit 
like a glove. Pad form wherever necessary 
with wadding, such as tailors use in coats, to 
make it fit smooth and be like your own 
natural form. 

This will require time and a careful ad- 
justment and re-adjusting as you will not 
get it correct by just putting wadding on until 
lining is filled out. 

If hips are rather large, fill them out; if 
abdomen is large, fill out; if shoulders are 
round, fill out. 

This form can be made a complete dupli- 
cate of yourself when finished. Then, in 



The Dress You Wear 27 

making a gown, you may be able to see the 
effect and where change in line or style would 
be especially beneficial to your figure. 

Skirts may be hung and length taken when 
you have form finished. Measure bust, hips, 
etc., and compare with your measures. Put 
a small tape around waist to get correct waist- 
line the same as to get correct waistline on 
yourself. Leave the tape there for future use 
in fitting, etc. 

Pinning Seams before Basting 

All seams should be pinned before basting 
to avoid having one side fulled in the basting. 
Without pinning, the side of the seam held 
toward you will ease in and cause trouble. 
When fitting in waists and coats pin waistline 
first, then pin from waistline to shoulder and 
from waistline to bottom of garment. In 
skirts lay both edges to be basted smoothly 
on work table, edges even. While in this 
position pin edges about three inches apart, 



28 The Dress You Wear 

placing pins, the heads toward the outer edge 
of seams, the points into materials. 

If this is carefully done before basting and 
the stitching is straight, a careful pressing 
will complete a perfect seam. The seam 
should look as straight as if glued. 

Material Required for a Garment 

First, the design should be carefully con- 
sidered which should be controlled by what 
we need this special garment for. Whether 
for street, special dress, or for all around wear. 
Then, the money we can afford to put in it, 
is another consideration. 

Never dress beyond your means. If care- 
fully planned and bought one's wardrobe 
need not cost so much. 

To be economical do not buy conspicuous 
material or use extreme styles. 

One or two garments a year of good mate- 
rial and well made means better dressed than 
five or six cheap half -made affairs. 



The Dress You Wear 29 

When you have decided what your design 
is to be procure your pattern, read all the 
instructions, pin pattern up, try it on and 
make necessary alterations. 

Select material but do not buy until you 
find out just how much you will need, then 
you will neither buy too much nor too little. 
Although it is wise to buy a little more than 
enough and have some left to alter your dress 
later on. 

To determine how much material is 
needed measure a space on the floor or 
work table with chalk the width of ma- 
terial you are to use, then place all pieces 
of pattern on this. Be sure to notice if 
the material has a nap to lay pattern on 
so nap runs all one way, as we have already 
learned the importance of, in a previous 
lesson, then buy material. Have it shrunken 
or shrink it yourself as taught in previous 
lesson. 

In wool goods never pay any attention to 
the salesman who says it has been sponged and 



30 The Dress You Wear 

shrunken, as you are liable to meet with 
much trouble by so doing. 

A tailor always shrinks his material no 
matter what any one says. Now you are 
ready to proceed with cutting and making 
your garment. Never rush. 

A student of a fine, high-class tailor in New 
York, where no suit or dress was made in his 
establishment for less than one hundred dol- 
lars, was trying to hurry. She was little more 
than a child and this had been her ambition ; 
to make beautiful tailored gowns and suits. 
She had often looked in the windows and 
watched the tailors work and how fast their 
hands flew, and of course she thought she 
must do the same. But the kind-faced old 
tailor saw how nervously she was trying to 
hurry and realized what a mistake she was 
making. He came to her and said: "Little 
lady, we try here to see how well our work 
can be done; not how much we can do. " 

Be master of your work, sure of yourself 
first, then practice speed. 



The Dress You Wear 31 

The beauty of the garment, whether mate- 
rial is expensive or cheap, is in the con- 
struction. 

Fitting a Skirt 

When a skirt is ready to fit, pin center of 
front and center of back where they belong 
on the person. 

If gored skirt see that seams are straight 
from hip line to waistline. If too large pin 
in seams, be careful to pin the seams on both 
sides and the same seams. 

If one hip is larger than the other, noticeably 
so, pad the small hip a little so the person 
will not look crooked. Pin in padding while 
skirt is being fitted. A skirt should always 
fit easily enough to be eased slightly into the 
band or belting, it will hang much more 
gracefully. 

If person is very slender it is sometimes 
necessary to lift skirt in back and slightly 
to the sides to prevent the skirt from swing- 



32 The Dress You Wear 

ing front and pouching out or having a saggy 
look in the back. Remove skirt, make all 
necessary changes, pin and baste to band or 
belting, and try on again. 

If correct the length may be taken. Never 
try to get the length until the fitting is com- 
plete and skirt to position on band. 



Questions 

1. In home dressmaking is it necessary to 
have proper equipment ? 

2. In what way does the proper equipment 
assist ? 

3. Name the articles required in the home 
dressmaking equipment. 

4. What kind of a dress form would you sug- 
gest buying? 

5. Explain how to pad a dress form to fit the 
person. 

6. If the fitted cover wrinkles at the hip, 
what is the remedy? 

7. How do you mark the waistline? 

8. Is it necessary to pin seams before basting? 

9. In fitting waists and coats where should 
you begin to pin? 

10. Describe how to pin a skirt. 

11. In selecting material what should be 
considered ? 

12. Would you prefer one or two good gar- 
ments to many gaudy ones ? 

13. Is conspicious material economical? 

14. How can you determine the amount of 
material needed? 

15. Is it necessary to shrink goods? 

16. Describe how to fit a skirt. 
3 33 



CHAPTER III 

Basting 

All seams should be carefully pinned before 
basting (see subject for pinning). 

Long seams in skirts should be basted fiat 




BASTING 



on table, the same as for pinning. If you 
prefer to hold material while basting, keep it 
straight. Do not hold it over the finger or 
curve it in any way as by so doing the curved 
side held towards you will be eased in, even 
34 



The Dress You Wear 35 

after a careful pinning, and when finished 
the seam will look as if one side was gath- 
ered. 

In princess dresses, long semi-fitted coats, 
basques, and tight linings, after pinning as 
taught in article on pinning, baste from waist- 
line up and from waistline down, and the 
garment will not twist as it is liable to do 
otherwise. Do not take stitches too long 
and never pull basting too tight, as it has a 
tendency to draw the whole seam. 

To Prevent Twisting of Two-Piece Sleeve 

In basting a two-piece or coat sleeve, baste 
inside seam first, then lay on work table with 
upper or larger section underneath — smooth 
out flat. About three inches from top, fold 
the upper section over to the under part of 
sleeve just where it comes naturally and 
pin ; also about three inches from the bottom 
fold and pin. Continue pinning from both 
ends of sleeve to within two and one-half 



36 The Dress You Wear 

inches of elbow, gather whatever fullness 
comes in that space on the upper side of 
sleeve; adjust the gathers, pin, and baste. 
Then lay sleeve flat on table in same position 
and if it draws or will not stay in correct 
shape you have not made the first joining 
correct. 

Pay no attention to whether the ends come 
out even in top or bottom of sleeve, but 
join back section to under section so as to 
leave upper and under of sleeve lie flat and 
smooth while pinning in place, then the 
sleeve will not twist. 

Basting Velvets and Silks 

Cotton thread leaves a mark when used 
in basting silks and velvets, therefore, you 
should use silk thread. Clip bastings every 
four or five inches, sometimes closer, as pull- 
ing a long basting in fine sheer material, es- 
pecially silks, is liable to tear the goods or 
make a bad mark. 



The Dress You Wear 37 

Bias or Diagonal Basting 

This is used to baste the outside and lining 
together where the lining is eased in, leaving 
the outside a little tighter than the lining. 




BIAS OR DIAGONAL BASTING 

The stitches are from three-fourths of an inch 
to one and one-half inches long and from one 
inch to two inches apart. Take stitches 
toward you and usually crosswise of goods 
which leaves a diagonal thread between the 
stitches. The stitches may be longer or 
shorter, according to material used and 
necessity of it being held firmly to lining 
while the finish of the garment is in progress. 



38 The Dress You Wear 

Padding Stitch 

This stitch is used by tailors on lapels and 
coat collars. It is the same as diagonal or bias 
basting only the stitch is not more than one- 
half inch long and one-half inch apart. 

The work is done on the canvas side of the 
garment and barely catching the material of 
the right side. 

Running Stitch 

A running stitch is made by taking even- 
length, small stitches. With careful prac- 



RUNNING STITCH 



tice it can be done rapidly from which it 
derives its name. Keep edges of seam even 



The Dress You Wear 



39 



by pinning (see subject of pinning), sew an 
even, straight seam putting needle in and out 
of material, making space and stitch of even 
length. 

Back Stitch 

In the back stitch, the under stitch is twice 
the length of the upper stitch. Bring needle 




BACK STITCH 



up through material a stitch ahead, then set 
needle one-half length of the under stitch 
back of where the under stitch came out, then 
again bring needle up through material one 
stitch ahead and set needle for second stitch 



40 The Dress You Wear 

back to meet the first upper stitch. This 
stitch is used where a strong seam is required. 

Combination Stitch 

This is used in sewing by hand where a 
firm running stitch is not strong enough and 
every third or fourth of your running stitch 
is a back stitch. 



Questions 

1. What should be done before basting? 

2. How should you baste long seams in a 
skirt? 

3. Where should you begin pinning the seams 
in princess dresses, long semi-fitted coats, and 
tight linings? 

4. Should basting be pulled tight? 

5. Describe how to baste a two-piece sleeve. 

6. What kind of thread should be used in 
basting silk or velvet? 

7. Describe the padding stitch. 

8. For what is bias basting used? 

9. How did the running stitch derive its 
name? 

10. Describe the back stitch. 

11. Describe the combination stitch. 



4i 



CHAPTER IV 

Tailors' Tacks 

Tailors' tacks are valuable to tailors and 
dressmakers in marking both sides of a 
garment so they may be exactly alike. In 




TAILORS TACKS 



putting in tucks or plaits, first-class work 

cannot be done without them. The stitches 
42 



The Dress You Wear 43 

should be taken through both thicknesses 
of cloth marking them alike on both 
sides. 

To make the stitch we use a double thread 
of basting cotton. Take two short stitches 
then leave a space a little longer than is 
required for the two short stitches. In this 
space leave a loop of the double thread two 
inches long. Then take two more short 
stitches, then loop as described and so 
continue until all marking for plaits, ruf- 
fles, bands, pockets, seams, or whatever it 
is necessary to have marking done is 
finished. Gently separate the edges of the 
material by pulling apart the mark-stitch- 
ing or tailors' tacks, clip thread, being care- 
ful not to clip the goods, and separate the 
sides. 

Over-Handing 

Use over-handing to sew two edges to- 
gether, usually the selvage is used. 



44 The Dress You Wear 

Take stitches small and close together, over 
and over the seam, point needle to the left. 




OVERHANDING 



Do not draw thread too tight as it will cause 
the seam to pucker. 

When seam is opened it should lie flat and 
smooth with no ridge on wrong side. 

Tailors 1 Fell Stitch — To Sew in Lining 

The fell stitch is used to sew in linings in 
coats and wherever an edge should be held 
close and stitches are not to show. This is 
made by bringing the threads up through the 
lining at the very edge. Then place needle 
in outside material as close to where needle 
comes out of lining as it can be placed. Take 
short stitch about one-eighth of an inch 
in material but not through to right side. 



The Dress You Wear 45 

Again bring needle out through the edge of 
lining, reset as before. Do not draw thread 
too tight as it will cause little dents where 
the lining is caught. 

Over-Casting 

This stitch is used to keep raw edges from 
raveling. Trim seam even and the width it 
is to be finished, take a slant stitch pointing 




OVERCASTING 



needle toward left shoulder. Loose- woven, 
soft material will require a deeper stitch 
than firm, close- woven material. An average 
stitch may be about one-eighth of an inch 



4 6 



The Dress You Wear 



deep and one- third of an inch apart. Keep 
depth of stitches and space even. 

French Seam 

Make a narrow seam on the right side of 
material as narrow as material will allow. 




FRENCH SEAM 



In fine- woven, firm material the seam may 
be narrower than in large thread, loose- woven 
goods. 

Trim off all loose threads or rough edges, 
turn seam, crease in seam where stitching is 
done, baste deep enough to cover entirely the 
first seam and stitch again. This finish may 
be used on light-weight material. 



The Dress You Wear 47 

Hemming 

Turn edge to be hemmed from one-eighth 
to one-fourth of an inch, then turn width 
of hem desired. It should be even in width 
as even width and even stitches mean success 
to your hem. The stitches are taken on a 
slant, pointing needle toward the left. 

On point of needle take up two or three 
threads of material, catching the edge of hem 
at same time. 

Cat-Stitch or Catch-Stitch 

This is a cross-stitch used as a finish to raw 
edge where material is heavy and flat ; smooth 
finish is required. Take small stitch like 
running stitch cross-thread by working from 
you, alternate stitches first to the right then 
to the left. 

Stitches should be in straight rows, one 
row on edge to be covered, the other just 
off the edge. 



48 The Dress You Wear 

Feather -Stitch 

Feather or brier stitching is sometimes used 
in place of hemming or to hold tucks in place. 
It may be done in single or double stitch and 
is very pretty as a finishing. 

To make the feather-stitch have a knot in 



TOP — CAT-STITCH BOTTOM — FEATHER-STITCH 

end of thread. Bring needle up through 
material, bring thread forward and place 
thumb of left hand on thread, take stitch 
placing needle about one-fourth of an inch 
to the right of where it was brought up 
through the material. Take slanting stitch 
about one-fourth inch long and bring needle 



The Dress You Wear 



49 



up half-way between and one-fourth inch 
from where it was placed at first, bring 
stitch up over the thread (thread held 
down by thumb) continue slant stitch 
first to the right, then to the left and 
always work toward you. Two or more 
stitches may be taken the same slant and 
is very effective. 

Fagoting 

Fagoting is one of the prettiest stitches 
used in dressmaking. It is used to join edges 
of lace, insertion, narrow ribbon, silk or satin 
folds. Two folds of satin or silk may be joined 
with fagoting and the top fold sewed on a 
skirt as ornamental trimming. 

The lace, fold, or ribbon should be finished 
and basted on paper the width apart desired, 
then insert the needle from the under side 
of each edge bringing it out over the thread, 
as in the feather-stitch, giving a double twist 
which makes it firm. 



50 



The Dress You Wear 




The Dress You Wear 51 

Buttonhole 

A nice closing is an ornament to a garment 
and good buttonholes help to make the suc- 
cessful closing. 

The hem in which the buttonhole is to be 
made should be not less than one inch wider 
than the buttonhole to be worked. The 
straighter the edge of the buttonhole is cut, 
the more successful it can be made. Begin 
at the upper right-hand side of buttonhole. 
Stitches should be even distance apart and 
uniform depth. The depth depends on the 
firmness of the material; just deep enough 
to hold firm and not tear out. 

Stitches should be close enough to keep 
purled edge firm and tight which makes it 
strong and durable. 

Mark top and bottom buttonhole. Divide 
the space between according to the number 
of buttons to be used. Use buttonhole shears 
and cut straight, even edge for buttonhole. 
Bring needle up through starting point which 



52 The Dress You Wear 

is the upper right-hand corner, take the 
double thread extending from the eye of the 
needle and wind around needle, pull needle 
through and draw the thread down snug. 

The front end of buttonhole should be 
worked round like an eyelet; the back end 
should be finished with bar by taking three 
or more stitches over each other at the end of 
buttonhole. 

Tailored Buttonhole 

In tailors' buttonhole the stitch is made the 
same as in the plain buttonhole in previous 
lesson. 

The difference is in the preparation of but- 
tonhole for working. 

Determine the number of buttons to be 
used, find the distance they are to be apart 
and with the tailors' chalk mark a straight 
line where each buttonhole is to be worked, 
place a button on this line and mark with the 
chalk each side of the button to find the cor- 



The Dress You Wear 



53 



rect length of buttonhole. The buttonhole 
should be one-sixteenth of an inch longer than 
the width of but- 



ton to allow the 
button to slip 
through easily. 

Baste through 
all thicknesses of 
materials on the 
chalk line, use 
small stitches to 
hold material firm. 
Stitch each side of 
basting just far 
enough apart so 
that when the but- 




TAILORED BUTTONHOLE 



tonhole is cut on basting and chalk line, in 
working the stitch will be taken just over the 
stitching. 

Use buttonhole punch and punch round 
hole in outer edge of buttonhole, then cut 
with sharp shears the length marked for the 
opening. Use heavy linen thread in needle, 



54 The Dress You Wear 

then twist and double thread which gives a 
cord to work over. Put knot in thread, take 
one stitch one-eighth of an inch back of 
buttonhole, bring needle up at edge of button- 
hole, hold this cord in place at edge of but- 
tonhole, hold in place with left hand and 
work over it all around. Pull cord snug 
after work with silk twist is complete. Put 
needle through material and fasten. 



Questions 

i . For what are tailors' tacks used ? 

2. Describe the stitch used in making tailors' 
tacks. 

3. For what is over-handing used? 

4. Describe the stitch. 

5. What stitch is used to sew lining in 
coats ? 

6. Describe the stitch. 

7. What stitch is used to keep raw edges from 
raveling ? 

8. What kind of material requires a deep 
stitch. 

9. Describe how to make a French seam. 

10. Describe the hemming. 

1 1 . For what is the cat-stitch used ? 

12. Describe how to make the feather-stitch. 

13. For what is it used ? 

14. For what is fagoting used ? 

15. Describe how to fagot. 

16. What is the use of the buttonhole? 

17. Describe how to make a buttonhole, 
also a tailored buttonhole. 



55 



CHAPTER V 

Eyelets 

Eyelets are usually used where lacing is 
required for the closing of a garment. 

Punch a hole with a bobkin, holding work 




EYELETS LOOPS 

in left hand, overcast, taking stitches close 
together to prevent the hole closing. 

A very pretty eyelet is made by using the 
buttonhole-stitch and drawing the purl to the 
outer edge. 

French Knots 

The French knots are used as a decoration 

and also used on sheer material in place of 
56 



The Dress You Wear 57 

beading where beads seem too heavy or on 
washable garments. 

If the French knot is made right it washes 
nicely, while beads are liable to break and 
drop off. 

Bring needle through to the right side of 
goods, take a tiny back-stitch, wind thread 
two, three, or four times around needle just 
above the point and with thumb of left hand 
hold the thread wound needle close to ma- 
terial. Draw needle through the material, 
which is still in the back-stitch just taken. 

Hold thread to form knot tight against 
material while drawing the thread through. 
Take another stitch of two or three threads 
close to knot and the knot will wash nicely. 

The number of threads wound around 
needle depend on the size of knot required. 

Loops 

Loops made of threads are sometimes 
necessary in closing a dress of soft material 
such as chiffon, lace, net, etc. 



58 The Dress You Wear 

Make a bar by taking two or three stitches 
directly over each other and the length of the 
loop desired. 

Use buttonhole twist or coarse thread 
and make buttonhole-stitch working over the 
bar, drawing purled edge to outer edge 

Sewing on Buttons 

I wonder how many of us sew buttons on 
correctly? 





SEWING ON BUTTONS 



Use as coarse thread as the material of the 
garment being made will allow, but always 
coarser than is used to make the garment. 



The Dress You Wear 59 

Take two or three stitches to fasten end 
of thread, place button and bringing needle 
through one hole of button, lay across button 
a pin, if the button is small; if a large button, 
use a match or something as large, allow- 
ing thread to pass over the pin or match. 
After button is sewed on remove pin or match 
and pull button away from garment as far 
as possible and wind thread around under 
button to form a shank, which allows the 
buttonhole to close nicely under the button, 
otherwise the buttonhole spreads and gets 
out of shape. 

Covering Molds 

Cut the cover round and a little larger than 
the button, but not large enough to quite 
come together on the underside or it will be 
bunchy underneath. 

Gather cover all around at the edge, place 
button in center, draw up gathering string 
and overhand together or nearly so. 

The stitches and open space may be cov- 



6o 



The Dress You Wear 



ered by a small piece of silk hemmed under- 
neath. 

Smocking 

The honeycomb design is the one generally 
used. 

The success of smocking depends on the 
marking, being precisely the same distance 

IMfM 
nniJiriTir 

I 

pfi], 

ill 
■ii 




SMOCKING 



apart both lengthwise and crosswise, and 
as in all other stitches, the more even and 
perfect the stitches the more artistic is our 
finished work. 

Nearly all fashion magazines sell patterns 



The Dress You Wear 61 

with the spaces accurately marked for smock- 
ing. A regular desk ruler one foot in length 
is the most convenient for marking. Dots 
may be made one-fourth, one-half, or three- 
fourths of an inch apart. It depends on how 
fine the smocking to be used is to be. 

It is always wise to make a small piece out 
of some of the pieces left in cutting the gar- 
ment as you can easily change the size of 
smocking if you wish, while if you mark the 
garment and change the size afterwards you 
may ruin the material. 

Allow about four times the width of mate- 
rial as smocking desired when complete. 



62 The Dress You Wear 

First baste marked piece to be smocked, 
taking a tiny stitch of not more than four 
threads in each dot. Have a knot in thread 
and break the thread at the end of each row 
of dots, leaving a long end not fastened. 
When basting is finished take all long ends 
of thread and pull up as in gathers. 

The marked smocking will form tucks. 

Fashion usually decides what kind of 
stitch and what kind of thread to be used. 

Sometimes thread is of different color from 
material used and French knots are often 
used to ornament where plaits are fastened 
together. 

Hold material the right side toward you, 
bring needle up through first dot at right-hand 
top corner, fasten the next plait to this by 
two stitches from right to left directly over 
each other. Put needle through material to 
wrong side and take next stitch in the same 
way fastening the same plaits together two 
dots farther down skipping every other dot, 
begin again, skipping the first dot at top for 



The Dress You Wear 63 

second row and use the second and third 
plaits fastening together firmly skipping every 
other one as before, only opposite to those 
fastened in first plait. Continue until re- 
quired width is obtained. 

Sewing on Beads 

Beads are always more or less used to 
decorate sheer, fancy gowns and blouses. 

Materials generally used are Georgette 
crepe, net, voile, chiffon, marquisette, and 
light-weight cr&pe de chine when sufficiently 
sheer to be able to trace the lines of the design 
through is also used. 

The pattern should be placed under the 
material. Smooth out both pattern and 
material, baste together to hold firm while 
sewing beads on. The thread should be the 
color of material. Purse silk is sometimes 
used as it is a little heavier than sewing silk. 
Sew beads on about the width of a bead 
apart. 

There are three methods: Beads may be 



64 The Dress You Wear 

strung first (placing them in a dish, thrust the 
needle through them; you are sure to pick 
up several beads at a time) and following the 
outline of the design use the couching-stitch 
and take a stitch between each bead; the 
running-stitch is also used, taking a few 
threads of material between each bead. 

The most secure method is to take a back- 
stitch and bring the needle point out the dis- 
tance of space between the beads, slip needle 
through the next bead and take a tiny back- 
stitch again to secure the bead and as 
before bring the needle up through the ma- 
terial the space between beads and con- 
tinue until all are sewed on. Do not draw 
thread tight as it will cause all your work to 
pucker. 

For small pieces such as ends of ribbons 
and scarfs, hat bands, etc., embroidery hoops 
are quite necessary. 

French knots when made in a small knot 
using the colored silks to represent the beads 
on material where beads seem to be heavy, 



The Dress You Wear 65 

can scarcely be told from the beads and 
launder nicely. 

Tailors' Pockets 

One of the comforts and conveniences in 
a tailored dress or coat is the pocket, and just 
at present we are allowed pockets of all kinds 
and sizes. 

We will give in this lesson two styles of 
pockets which are always used. 

The pockets with a lap, which is used in 
coats. The lap is made first, lined, stitched, 
and pressed, leaving the edge unfinished that 
stitches to the coat. Have place marked on 
coat where pocket opening is to be, which is 
about four inches from the waistline and a 
little in front of the underarm seam usually 
two or three inches. This depends on the 
size of coat and most convenient place for the 
pocket. Baste unfinished edges of lap to 
upper side of mark for pocket with right side 
of lap toward coat, cut two pieces of coat 
lining one inch larger all around than pocket 



66 The Dress You Wear 

is to be. Baste one to lower side of mark for 
pocket, stitch pocket piece using one-eighth 
of an inch seam just the length of mark for 
pocket, cut slit for pockets. Turn lower 
piece of pocket through to wrong side, turn 
pocket lap down and seam on wrong side up, 
baste, using small stitches to hold snug, press 
and stitch on coat close to edge of seam above 
pocket lap. 

Turn pocket piece (already stitched and 
turned through slit to wrong side) over edge 
of seam at lower side of pocket opening, al- 
lowing it to extend over edge of seam enough 
to fill space left by turning seam in lap up, 
baste and stitch through from right side of 
coat, leaving long ends of thread. After 
stitching pull threads through to wrong side 
and tie. Place the other pocket piece on the 
seam already turned up on wrong side, fell 
firmly to seam, baste pocket together, stitch, 
and press. 

Another pocket is used in coats and skirts 
and one-piece tailored dresses. It can be 



The Dress You Wear 



67 



made in different ways — straight up and 
down, straight crosswise, slanting or a 
graceful curve, not quite as strong a curve 




TAILORED POCKET NO, I 



as a half-moon and higher at the front of 
pocket than the back. 

Draw line with chalk whatever style the 
pocket is to be. Cut a piece of bias about 
four and one-half inches wide. If pocket is 
curved cut bias piece five and one-half inches 



68 The Dress You Wear 

wide and long enough to extend one inch over 
at each end of mark for pocket. 

Mark pocket line strong with tailors' chalk, 




TAILORED POCKET NO. 2 



lay bias piece over it and slap with the hand, 
this will cause the chalk mark to come off 
on the bias piece enough so you can see the 
curve. Place again on line for pocket on coat, 



The Dress You Wear 69 

and baste the length the pocket is to be; 
draw a chalk line crosswise at both ends of 
pocket and stitch the bias using one-eighth 
of an inch seam on each side. Stitch just to 
chalk line, being careful to have each stitch- 
ing come out exactly opposite. 

Leave long thread to draw through and tie 
to make ends of stitching firm. It is still 
better to back-stitch at the ends of pocket, 
take three or four machine stitches then raise 
presser foot, replace work, start again just 
where you started first without breaking 
thread, stitch to other end of pocket, back up 
again three or four stitches, and stitch again 
to the end the second time which leaves the 
corners of pockets strong, pull bastings, cut the 
line for pocket through the coat, turn facing 
through to wrong side and seam back from 
the opening on both sides of pocket. 

Allow facing to form a cord on each side of 
pocket just enough of the loose facing to fill 
the space left by the seam ; but no more than 
the eighth of an inch on each side as that 



70 



The Dress You Wear 



was the width of seam. Baste in position turn- 
ing corners neatly, overhand edges in center 




TAILORED POCKET NO. 3 

together and press, cut pocket out of lining 
the length and width desired and sew to 
facing on long side, allow top of pocket to 
lie back toward top of coat and while in this 
position stitch through from the right side of 



The Dress You Wear 71 

the coat at edge of cord formed by facing. 
Leave long ends of thread at each end of 
pocket, pull through and tie or thread in 
needle and fasten securely. 

Turn down top piece of pocket on the lower 
piece, baste, and stitch all around the edges, 
press pocket again and work arrow-head or 
crow-foot at each end of pocket. 

All outside pockets should be put in coat 
before the lining goes in. 

Bound Buttonhole 

The edges of a bound buttonhole are finished 
the same as the pocket above, the only differ- 
ence is the facing is not more than two inches 
wide, and are turned under on wrong side. 
Fell down neatly. 

Patch Pocket 

Dame Fashion uses patch pockets of all 
sizes and kinds for ornamental purposes, as 
well as useful ones. 

These pockets should be very carefully 



72 The Dress You Wear 

made, edges cut and turned even and smooth, 
stitching straight or the pocket will prove 
anything but ornamental. 

The top is hemmed, bound, or lined. 
Sometimes in using two harmonious colors for 
a gown, the pocket may be lined or bound 
with the trimming material. 



Questions 
Where are eyelets used? 



2. Describe how to make an eyelet. 

3. For what are French knots used? 

4. Describe how to make a French knot. 

5. For what are loops used? 

6. Describe how to make a loop. 

7. Describe how to sew on buttons. 

8. Describe how to cover button molds. 

9. Explain the marking and stitching in 
smocking. 

10. Describe how to make a tailors' pocket 
with a lap and one without a lap. 

11. Describe the three ways of sewing on 
beads. 

12. How should you make a bound button- 
hole? 

13. Describe how to make a patch pocket. 



73 



CHAPTER VI 
Crow-Foot 

The crow-foot is ornamental as well as 
useful in plain tailored gowns. It is used to 
make a corner of a pocket strong and at the 
end of an inverted plait where it terminates at 
the waistline in a coat or part way down the 
skirt; it is also used as an ornamental finish 
in various ways according to the prevailing 
styles. 

Make a triangle the desired size on the 
garment with tailors' chalk, drawing the line 
from point to point with a slight curve toward 
the center. Use rope silk or twist. 

Bring needle up through material at outer 
point then take stitch at next point, taking 
only two or three threads of material at first 
stitch. Take stitch toward you, turn work in 
left hand outward from left to right which will 
74 



The Dress You Wear 



75 



seem at first backwards, but which causes 
the ends to cross and forms the crow-foot. 




CROW-FOOT 



Continue these same stitches taking them 
very close together and each one a thread or 
two longer until the center is reached, and 



76 The Dress You Wear 

you will find you have formed a pretty crow- 
foot with a surprisingly pretty center. 

Arrow-Head 

The arrow-head is used for the same pur- 
pose as the crow-foot. It is just a matter of 
choice as to which one is preferred. The 
diagram is made the same. 

Bring needle up through at base of arrow- 
head to the left of where it is to cover the end 
of pocket or plait or seam, take stitch as for 
crow-foot at outer point of arrow-head, put 
needle down through at right point and 
under material, bringing it out again at left 
point just inside the first stitch. Again take 
stitch at outer point outside and just under 
the top stitch and two or three threads wider 
across as for crow-foot. Again put needle 
down through material just inside last stitch 
as before. The stitch at outer point is taken 
from right to left, then down through at 
right point which crosses the thread. 



The Dress You Wear 77 

Plackets 
The finish of a placket depends on the 




TAILORED PLACKET 



fabric from which it is made also the style of 
the garment. 

A well-made placket is of the utmost im- 



78 The Dress You Wear 

portance. The continuous placket is used 
for material such as thin silks, net, lace, 
chiffon, etc. 

Make placket thirteen inches long, cut fac- 
ing one and one-half inches wide and twenty- 
six inches long on lengthwise of material. 

Pin and baste the entire length of both 
sides of placket, seam on wrong side. Stitch 
narrow seam all around placket. Pull bast- 
ings, clip seam clear to stitching at lower end 
of placket where facing turns. The outer 
edge should be turned in a seam width and 
folded over to just cover the machine stitch- 
ing of seam just made and fell down, being 
careful to have stitches invisible on right side. 

Placket facing should extend about one- 
half of an inch. Turn through to wrong side 
turning right side back at top, allowing left 
side to extend out for fly or underlap. Close 
with snap fasteners about one inch apart, 
marking where fasteners are to be placed on 
both sides of facing before beginning to sew 
them on. 



The Dress You Wear 79 

This should be very carefully done as any 
variation in these marks may spoil the looks 
of the closing. Always press placket before 
sewing on fasteners. 

In heavy material make the tailored 
placket. Cut one strip of material one and 
one-half inches wide and thirteen and one- 
half inches long, sew to left side of placket, 
seam to wrong side, face with silk, sewing 
facing to outer edge of under facing or fly, 
turn back and fell down over seam using 
tailor's fell-stitch as given in previous lesson. 
Cut strip of silk one and one-half inches wide 
and face back right side, press, pin placket 
up carefully so it lies smoothly, turn wrong 
side out and sew the right side facing to fly 
at bottom of placket, but not to the skirt. 

Mark for hooks and eyes or snaps with 
tailors' chalk on one side of placket one inch 
apart. Make marks heavy, close placket, 
lay flat on work table, slap with hand several 
times. This will cause the chalk marks to 
mark the other side, leaving marks for hooks 



80 The Dress You Wear 

and eyes or snaps directly opposite each 
other. 

In thirteen inch placket you can place the 
first snap or hook and eye close to the bottom, 
close tight with pinchers or place blotter on 
top after fastening this one or hooking it, 
hit with hammer lightly, letting it lie on flat 
iron. This will close it so it will not unfasten 
and your placket will still be long enough and 
never tear out at the bottom. 

Where hooks and eyes are used they should 
be covered where they are sewed on with 
narrow silk or bias cut from silk. If material 
is heavy silk or light-weight wool facing may 
all be made of the goods, cutting fly double 
width, three inches, and right side facing one 
and one-half inches. 

Cutting Bias 

The cutting of bias is so important we 
cannot be too careful, whether for ruffles, 
milliner's folds, or the uses previously men- 
tioned. 



The Dress You Wear 81 

If bias is unevenly cut our work must be 
imperfect when finished. This is why "The 
finish begins with the beginning." 




CUTTING BIAS 

The selection of suitable design and mate- 
rial with nap running correctly, together with 
correct cutting in every particular and nicely 
worked stitches all unite in making the suc- 
cessful, smart garment. 

In cutting the bias unfold material, place 
smoothly on cutting table, use a yard stick or 



82 The Dress You Wear 

better still a tailors' skirt rule which is forty- 
eight inches long and is made of good, hard 
wood with straight edge. The yard sticks 
given away for advertising are seldom straight 
enough to cut by. 

With skirt rule mark five inches from right- 
hand corner on selvage edge, also five inches 
from same corner on cut edge with tailors' 
chalk or pencil. Draw line across material 
connecting these marks. Mark again from 
this line the width of bias desired and con- 
tinue until sufficient bias is cut. 

Shirring Bias Bands 

This is very pretty trimming that Dame 
Fashion frequently favors and we are never 
sorry to see it return. 

Cut bias two and one-half inches wide or 
more. Turn under one-half inch on each 
side and shirr over cord. Gather about as 
full as a ruffle, which is one and one-half the 
space to be covered. Gathered bands are 



The Dress You Wear 



83 



sometimes put on in different designs similar 
to the illustration shown here. 




SHIRRING BIAS BANDS 

Bands and Straps 

Trimming bands and straps of many kinds, 
both crosswise and bias of various widths 
are used by our fashion designers at different 
times for ornamental purposes. 

Bands are usually used on tailored skirts 
and coats as they retain the plain simplicity 
suited to the garment. They are made 



8 4 



The Dress You Wear 



usually from one inch to five inches in width. 
The wider are used only on skirts and should 
be cut the shape of the skirt. 

Pin gores of skirt pattern together, lay 




BIAS FOLD NO. I 



flat on cutting table, measure up even dis- 
tance from the bottom of the skirt and mark 
every four or five inches all around where 
the band is to be applied. Connect these 
marks, then mark again above this line the 
width of band, connecting marks. Slip 
under skirt pattern a plain piece of paper, 
trace lines through on to paper, remove 
pattern, cut on traced lines and you have 
a correct pattern for a perfect fitting band. 



The Dress You Wear 85 

Lay center front of pattern on fold of 
material when cutting. 

Straps of wool material up to three inches 
wide finished may be cut on true bias. After 
edges are turned in if the skirt is circular, 
place band on padded pressboard, dampen 
lightly with wet sponge on wrong side, then 
with hot iron stretch one edge a little by 
laying bias band in circular position on board 
and press dry. It will retain the shape. 

Bias facing when used for bottom of skirt 
or at back of neck in waists may be shaped 
the same way. 

In medium weight goods, bands are usu- 
ally lined with cambric or crinoline to give 
firmness. 

Material such as taffeta, satin, etc., may be 
cut double the width, folding both edges at 
the top or if one wishes to economize they 
may be lined as well. 

When bands are stitched on both edges, 
stitch the same direction on both sides of fold, 
for no matter how firm they are basted if 



86 



The Dress You Wear 



stitched to the right on upper edge, then in 
opposite direction on lower edge, the ma- 
chine crowds the band enough to make 
numerous little wrinkles that may press out 
but they come back. 




THE MATERIAL IN THE ORIGINAL MODEL FOR THIS 
FOLD WAS BIAS, SAME AS IN FOLD I 



The beauty in all strap and fold trimming 
depends on even width of fold or strap, 
straight edges, and straight stitching. 

Milliners' Folds 

Milliners' folds are very ornamental when 
nicely made. 



The Dress You Wear 



87 




\ 



The width is determined by the use made 
of the fold. A pretty medium 
width is made by turning the 
top edge one-half to three- 
fourths of an inch, then turn 
lower edge to one-eighth of 
an inch of the top. 

This must be straight and 
even, and perfectly smooth 
when finished. 

Other wide folds for skirts, 
etc., can be made the same 
way by cutting bias the de- 
sired width and the lower edge 
may be turned even with the 
top. 

For wide folds, three or four 
inches, when made of silk for 
skirt trimming, fold through 
center, turn both raw edges 
together and stitch one-eighth 





inch from top edge. 



Questions 

1 . For what may the crow-foot be used ? 

2. What is its shape? 

3. Describe how to make an arrow-head. 

4. Upon what does the finish of a placket 
depend? 

5. How long should a placket be ? 

6. Suggest some fitting places to use bias. 

7. Explain how to cut bias strips. 

8. Describe shirring bias bands. 

9. For what are bands and straps used? 

10. Explain how to press a bias band to fit 
skirt or neck. 

n. Describe how to make milliners' folds. 



88 



CHAPTER VII 

Couching 

This is an over-stitch used to hold cor- 
onation braid, rattail braid, or any silk 
or cord used to follow an outline in em- 
broidery. 

The stitches should not be farther apart 
than one-fourth inch, close enough to hold 
the threads or cords from springing out be- 
tween them. 

Several threads of contrasting colors may 
be used with pleasing effect but should be 
twisted slightly in laying it on the outline. 
When joining or starting the braid or silk, 
punch a hole through the material and fasten 
in place. 

To press when finished turn right side 

down on well-padded pressboard and press 

slowly with moderately hot iron. 
89 



90 




The Dress You Wear 91 

Covering Cord 

In covering cord for ornamental purposes 
use a good sizable cord, say one-half to three- 
fourths of an inch as the cord does not appear 
as large when covered as before. 

Soft wool may also be used if lightness of 
weight is desired. Cut material on true bias 
one inch to one and a half inches wide, this 
depends on the size of cord to be covered. 
Place cord in center of bias strip on right side 
of material tight around cord and take a 
needle's length of fine running-stitches. This 
determines the width of material required to 
cover the cord. 

Draw cord out of material, then baste the 
length of strip keeping the same width of 
material as was used to cover the cord at the 
beginning. Use small basting-stitch, stitch on 
machine to make firm, being careful not to get 
the casing too large or too small (it is always 
best to make a small piece first before begin- 
ning the trimming piece), pull basting, trim 



92 



The Dress You Wear 




COVERING CORD 



seam to an even width, being careful not to 
cut so close that where cord is put in it will 
tear out. Use tape needle and wind and sew 



The Dress You Wear 93 

with strong thread to the end of the tape 
needle as the cord is too large to go in the 
eye of the needle. 

Sew the edge of seam in casing just 
made to the cord, allowing at least six 
inches between needle and end of casing 
where the sewing is done. Take stitches 
clear in the edge of the machine stitching 
from raw edge side of seam and sew very 
firm. 

Turn tape needle back and insert in the end 
of casing, the casing will turn right side out 
over the cord as you continue to run needle 
in through casing. 

Shirring over Cord 

Material should be marked where cord is 
to be placed either by tracing, tailors' chalk, 
or mark-stitch (never use tracing wheel on 
silk), place cord on wrong side of material 
directly under marking. 

With left hand hold material tight around 



94 The Dress You Wear 

cord and sew by hand using a fine running- 




SHIRRING OVER CORD 



stitch. Hold cord firmly in left hand and 
with right hand push material back on cord 



The Dress You Wear 95 

until desired fullness is obtained. Do not 
draw up running-stitch. 

In shirring yokes or waists or skirts a num- 
ber of rows of cord may be used. 

Marking for Hooks and Eyes 

When sewing on hooks and eyes, or snap 
fasteners, place them about one inch apart. 
Place right and left sides of garment together 
right side outside. They should be even top 
and bottom, also at waistline. 

Lay flat on work table, turn back the edge 
of upper piece, and mark both pieces at the 
same time with tailors' chalk. If accurately 
done they will be precisely opposite and when 
fasteners are on, the closing will be smooth 
and even. 

Round eyes should extend out about one- 
eighth of an inch. Hooks should set back 
from the edge one-eighth of an inch, for a 
placket or closing that is just to meet. 



96 The Dress You Wear 

Circular Yokes 

Circular yokes are occasionally very fash- 
ionable. 

A yoke should be cut and fitted; and if 
stock collar is to be worn it also should be cut 
and fitted in some cheap material, such as 
lining cambric. 

From the fitted yoke cut a paper yoke and 
stock and baste together. 

These yokes and collars are made of lace, 
bias folds, two kinds of narrow lace, etc. 
Bias folds or lace may be basted on the paper 
one-half inch apart and fagoted together, or 
the yoke may be made of net and lace medal- 
lions appliqued on. 

Net, hand embroidered, is also pretty. 

To make the narrow lace yoke of two 
kinds of lace, Valenciennes and cluny, in al- 
ternate rows, begin at the bottom of collar 
where it joins the yoke, baste from there 
to top, then outer edge of yoke allowing 
the edges to overlap just enough to hold. 



The Dress You Wear 97 

Stitch through paper, press, and tear paper 
away. 

Tucking Circular Skirt 

Tucks in skirts are sometimes a difficult 
task, especially in circular skirts where the 
lower part of the material used in tuck is 
fuller than the upper? 

Before the bottom can be finished the 
placket should be made, all seams finished, 
and the skirt should be finished with band or 
belting at the top. 

Tucks require twice their length. 

Find out the inches necessary for the re- 
quired number of tucks to be used, pin very 
carefully or mark and baste the material all 
in one place at least half-way up the skirt 
the full amount to be used in tucks to get it 
out of the way. 

Put skirt on, turn up even around the bot- 
tom, length of finished skirt. 

Baste all around bottom where the skirt 



98 The Dress You Wear 

turns for hem, then find the shortest place in 
material left at bottom for the hem. 

If tucks are to graduate, being larger at 




TUCKING CIRCULAR SKIRTS 

the bottom and decrease in size towards the 
top, the hem should be as much wider than 
the first tuck as there is difference in the 
tucks; that is, if the first tuck is four and 
one-half inches, the next tuck three and 
one-half inches, then the hem should be five 
and one-half inches. 

Mark the hem all around from where the 



The Dress You Wear 99 

skirt is turned and basted at the bottom. 
With tape measure or a piece of cardboard 
with notch cut in five and one-half inches 
as a mark. Use tailors' chalk to mark with. 
It can be bought in different colors and 
brushes off, leaving no trace. Cut off mate- 
rial above mark, leaving only one-fourth inch 
to turn under for finish. 

Turn under on chalk line and gather, using 
silk thread the shade of the material or any 
thread the dress is to be made with so this 
thread will not have to be removed. Use 
fine running-stitch, stitches to be very small, 
and right on edge of hem as you are to stitch 
through your gathering thread. 

Draw up this thread to adjust the fullness 
and pin the hem at top until it is in proper 
place and gathers are where they should 
be for hem to lie flat and smooth, baste, and 
press. 

Let out the goods for tucks and measure, 
first the distance the tucks are to be apart, 
then the width of tuck as the double material 



ioo The Dress You Wear 

in tuck covers its width in material under- 
neath it so add to the space between the tucks 
the width of tuck. 

If tuck is four and one-half inches wide and 
space between tucks to be two inches, mark 
first notch six and one-half inches, which will 
be the lower part of the first tuck. Make 
another notch four and one-half inches above 
the six and one-half inch notch; this line 
will be the lower edge of tuck after tuck is 
finished. 

One more notch four and one-half inches 
still above the notch for the center, or what 
is to be lower edge of finished tuck, will be 
the top of the tuck. Use running-stitch and 
as in the hem, thread the color of material so 
it need not be removed. Use running-stitch 
and stitches very small. 

Run this thread all around the line six and 
one-half inches above the hem, turn on next 
line and baste the same as where hem is 
turned in bottom of skirt. ' 

Lay skirt on work-table, folding on basting 



The Dress You Wear 



IOI 



that is to be lower edge of tuck, allowing top 
part of skirt to fall toward hem inside the 
skirt. The full or larger part on top, now 
draw up gathering thread so as to allow tuck 
to lay flat and smooth, pin all around to 
position, turn tuck down to inspect work and 
see if it looks right; if not, re-adjust gathers 
and pin them, then baste. Proceed in like 
manner for balance of tucks and you will find 
the result most charming and satisfactory. 



Questions 

1. For what is the couching-stitch used? 

2. Describe "Covering Cord." 

3. Describe "Shirring over Cord." 

4. How far apart should hooks and eyes or 
fasteners be placed? 

5. Explain how to mark for hooks and eyes 
or fasteners. 

6. Explain how to make a circular yoke. 

7. Give directions for tucking a circular skirt. 

8. Explain how to finish the top of a skirt. 



102 



CHAPTER VIII 

Getting the Length of the Skirt 

After a skirt has been properly finished at 
the top, hooks and eyes on and can be put on 
firmly as it will be worn, there are two good 
ways to get the length. 

One is to use a yard stick, placing one end 
on the floor as far from the feet as the skirt 
hangs away from the figure, but keep it the 
same distance in front and front side, then as 
you near the side back, set your yard stick 
a little farther from the feet, and still a little 
farther across the back. 

This will be guaged by the fullness in the 
skirt, a circular skirt has more fullness to the 
side back and back, causing it to stand far- 
ther away from the figure where the greater 
amount of fullness is and also to be shorter the 

farther its stands away. 
103 



104 The Dress You Wear 

If the yard stick is kept the same distance 
from the feet all around, the back of the skirt 
will appear shorter than the front. Allow 
the yard stick to rest against the figure at the 
top and place a pin at that point. Move the 
yard stick two or three inches and pin again 
at top, continue until you have pinned all 
around the skirt. 

Try to stand in a natural and erect position 
while this is being done as every movement 
of the figure changes the adjustment at the 
bottom. 

Remove the skirt, place it on work-table, 
and place yard stick with small numbers at 
the top and the same number of inches above 
the line of pins that were just put in at the 
top of the skirt, as you wish your skirt to 
be shortened at the bottom, then mark with 
tailors' chalk at the bottom of the yard stick 
every three inches all around the skirt, turn 
skirt up on this line and pin at edge where 
it is turned, again at edge of material turned 
up. 



The Dress You Wear 105 

Try skirt on to see if it is just even around 
the bottom. 

Always try to keep one position while the 
skirt is being turned up as it will not hang 
even unless you do. 

Another way to turn up a skirt even is to 
use a skirt guage and chalk or turn and pin 
all around while the skirt is on, moving skirt 
guage around skirt and pinning about three 
inches apart. After the skirt is pinned up 
even baste on lower edge, find the narrowest 
place in material for hem, then measure at 
this point, allowing enough to turn raw edge 
well under. With tape line measure from 
bottom of skirt, this distance all around the 
skirt, cut off all extra material above mark 
except enough to turn raw edge under. 

Turn on chalk line, use running-stitch, take 
small stitches, and run gathering thread all 
around at edge where the skirt is turned on 
chalk line. Draw thread up where it is neces- 
sary to make it fit the skirt, pin to place and 
baste. 



io6 



The Dress You Wear 



Press with damp press cloth and stitch. 
After stitching press again on right side (see 
subject of pressing). 



Basting in a Sleeve 

Run gathering thread all abound top of 
sleeve, hold sleeve toward you, place sleeve 




BASTING IN A SLEEVE 



The Dress You Wear 107 

so that center of lowest point of sleeve is 
pinned to lowest point of armhole under arm ; 
and center of highest point of sleeve to center 
of highest point of armhole. 

Adjust gathers so that sleeve will be eased 
in all around but a little stronger at top than 
remainder of sleeve. 

If sleeve is large it should be eased in 
under arm and about half-way up the arm- 
hole, then the balance gathered in across the 
top and half-way down the sides. It is very 
important that the sleeve be held toward you 
while the work is being done. 

Try sleeve on before stitching as it is some- 
times necessary to make a change as all arms 
and shoulders are not just alike. 

In real round shoulders the top of the sleeve 
has to set farther forward than in straight 
shoulders. 

When fitting the sleeve see that the 
elbow comes in the right place, also that 
the center of top of sleeve at highest point 
on top. 



108 The Dress You Wear 

Tailor's Seams 

The finish of tailored seams differ according 
to style adopted. 

Even, straight stitching is absolutely nec- 
essary in tailoring which can be done with 
less practice than the student will at first 
suppose. 

Concentration while you work, is of the 
utmost importance. 

Bound Open Welt 

Allow one-half to three-fourths of an inch 
seam, pin, baste, and stitch seam in regular 
way. 

Remove basting, trim off one side of mate- 
rial, turn the wide side over the trimmed edge, 
turning outer edge under the same as a hem, 
keep it smooth and even. 

Baste and stitch on outer edge. This finish 
is for unlined garments. In lined garments 
the edges are left raw. 



The Dress You Wear 109 

Strap Seam 

Strap seams are frequently used in the finish 
of unlined coats made of silk, linen, or wool. 




STRAP SEAM 



If coat is unlined baste so raw edges of 
seam come on right side. 

After stitching trim seams off to one-fourth 



no 



The Dress You Wear 



of an inch and press open. Cut strap one and 
one-half inches wide, either 
cross-wise or bias, fold edges 
under, leaving finished strap 
three-fourths of an inch wide, 
baste, and press. Place center 
of strap over center of seam, 
pin, baste, and stitch. 

Lined coats are also finished 
with straps, only when lined, 
the raw edges of the seams are 
on the wrong side of the gar- 
ment, and the straps made, 
pressed, and center of strap over 
seam on right side of garment. 

Suit skirts in tailor work 
should have the same finish 
and trimming as the coat. 



Imitation Strap Seam 



This finish is especially good for unlined 
garments. 



The Dress You Wear 



in 



Mark-stitch seam as usual, lap seam plac- 
ing mark-stitching directly over each other, 
pin and baste on mark-stitching, turn edges 




IMITATION STRAP SEAM 



of seam under and baste on both wrong and 
right side of garment. Stitch seam at edge 
where it is turned under. Be particular to 
have turning even. 
Press before stitching. 



Questions 

1. What must be done to a skirt before get- 
ting the length ? 

2. Describe how to get the length of a skirt 
with a yard stick. 

3. Describe how to get the length of a skirt 
with a skirt gauge. 

4. Describe how to pin and baste in a sleeve. 

5. How does the finish of tailored seams 
differ? 

6. How can one become proficient in stitch- 
ing? 

7. Is the stitching of tailored seams im- 
portant ? 

8. Describe a welt seam. 

9. Describe a strap seam. 

10. Describe an imitation strap seam. 



112 



CHAPTER IX 

Slot Seam 

Allow one and a half inch seam. Pin 
and baste, press seam open. 

Cut a piece of material on the crosswise of 



SLOT SEAM 

goods three inches wide, lay flat underneath 
with center of three-inch piece over center 
of same. 

8 113 



U4 



The Dress You Wear 



Pin and baste one-fourth to one-half inch 
from the edge, turn garment to right side, 
mark one inch or the desired width of slot 
seam from center and stitch. 

Press and pull bastings? 

Occasionally slot seams have two stitchings 
each side of the slot. 

Raw Edge Lap Seam 

This seam is usually used on heavy matc- 




RAW EDGE LAP SEAM 



The Dress You Wear 115 

rial especially those that do not ravel like 
melton, beaver, and other thick, firm cloth. 

It is sometimes used for broadcloth. 

Mark-stitch seams as usual lap seam, 
placing the mark-stitchings directly over 
each other, pin, and baste seam. Baste seam 
again at outer edge and again on mark- 
stitching on opposite side of mark-stitching, 
making space between stitching one-half inch 
or more. 

As Fashion is a fickle goddess and changes 
almost while our gowns are being made, it is 
necessary to note what style of seam finish is 
in use and adopt it. This is why we should 
know all the different seam finishings and be 
ready for our fickle friend. 

Fell Seam 

This seam is a fell, hemmed down to hide 
a raw edge. 

Trim off one edge of the seam close to the 
stitching, turn under the other edge, press 



n6 The Dress You Wear 

with thumb, baste, and hem. This is used in 





FELL SEAM 



making up wash goods and other light mate- 
rial, including silk. 

Matching Flowers and Stripes 

In flowers note if there is an up and down to 
the flower; stems usually run down. 

As in plaids, if goods is wide and can be 
folded see that the flowers are exactly op- 
posite before cutting. 



The Dress You Wear 117 

If narrow material cut one-half of the gar- 
ment, then lay all cut pieces on material for 
the other half of dress, right sides together, 
being careful that flowers all run the same 
direction and come opposite the flowers in the 
pieces already cut. 

Stripes should also be carefully cut. Be 
sure the center of a stripe comes in the center 
back, also center front of the garment, and 
stripes on right and left side match also where 
the joining comes in gored skirts. 

It is well to cut front gore first, then place 
pattern of next gore and lay front gore by it 
to see if the stripes match. If not, move 
pattern until. they do match. Continue in 
like manner until all gores are cut. 

Matching Plaids 

When plaid material is wide enough to cut 
double, be sure it is folded in the center of a 
plaid so that all plaids match as they face 
each other in the folded material. 

If necessary to cut single, after the right 



n8 The Dress You Wear 

side is cut, place all cut pieces on the mate- 
rial right sides together, plaids matching. 
In this way no two pieces will ever be cut for 
one side. 

If a one-piece dress the crosswise plaids 
should match at waistline in front, back, and 
under arm. 

In cutting a waist match plaids at bust 
line. 

In matching plaids at seams it is sometimes 
necessary to place piece over one-half or full 
width of a plaid to have the stripes match 
correctly. 

More material is always required in plaid, 
figures, flowered or material with nap, than 
plaid material with no nap. 

In plaids cut front of skirt or waist, then 
lay cut pieces on material against pattern as 
it is lain on for next gore and see if plaids 
match. If they do not, move pattern until 
they do match. 



Questions 

1. Describe a slot seam. 

2. What materials are suitable for raw edge 
lap seams? 

3. Describe a raw edge lap seam. 

4. What good reason would you suggest for 
learning all seam finishings? 

5. Describe a fell seam. 

6. How should a skirt be pinned on the figure 
in the first of the fitting ? 

7. In case hips are not alike how may the 
defect be remedied? 

8. Should a skirt be a trifle larger around at 
the waistline than belting? 

9. How would you prevent a skirt from swing- 
ing front ? 

10. When are you ready to get the correct 
length of a skirt? 

11. Describe how to match flowers and 
stripes in cutting a garment. 

12. Describe how to match plaids. 



119 



CHAPTER X 

Cutting a Garment so as Not to Have Two Pieces 
for One Side 

Always cut with right side of material 
facing each other. 

If material is narrow and it is necessary to 
cut single, cut all the pieces for one side, then 
lay them on material right sides together and 
cut for the other side. 

This will always give you right and left 
side of all pieces cut, which is absolutely 
necessary or both sleeves would be for one 
arm and the whole dress for one side. 

Length of Skirt for Girls at Different Ages 

This is quite a problem to the mother and 
also to the girls themselves. The rule given 
here will vary in older girls from thirteen 
years of age, according to their growth and 
development. 

120 



The Dress You Wear 



121 



From three to five years the dress should 
just cover the knee. The child of average 
growth may continue this length until eleven 
or twelve years old, then the dress should be 
two inches longer. 

At fourteen, if she is very small for her age, 
she may still wear the same length but if well 
developed the skirt should just cover the 
top of the calf or largest part of the leg in 
the back. If unusually tall the skirt may 
be an inch or two longer. 

At fifteen it should be two inches longer, 
and from sixteen to eighteen the skirt should 
be to the top of the shoe, unless the prevailing 
fashion determines the length of dresses to be 
as short as they are at present; if so, she 
may wear whatever length is the style, pro- 
viding it is becoming and her mother is 
willing. 

Acid Test for Cloth 

To test silk boil the same in five per cent 
solution of caustic potash for fifteen minutes. 



122 The Dress You Wear 

If the silk is pure the fabric will be prac- 
tically destroyed leaving but a small residue 
like paper ashes, If there is cotton in it, 
the cotton will remain. 

Another excellent test is to remove the 
threads which form the warp and the woof. 
Keep these separately and test them in strong 
hydrochloric or sulphuric acid. If they are 
pure silk the threads will dissolve within two 
minutes. 

If there is either wool or cotton in the fabric 
the threads will remain unaffected. 

Pure woolens are adulterated even more 
than silk because they are in greater de- 
mand, and also because they are quite easy 
to imitate. 

Many a yard of cloth sold as "pure wool" 
contains from thirty to sixty per cent cotton. 
Blankets sold as "half wool" have frequently 
been found to contain only ten per cent of 
pure wool. 

There are machines to-day which cleverly 
wrap wool around cotton thread and the 



The Dress You Wear 123 

finished product has every appearance of 
being ''all wool." 

Another method of adulteration is by tak- 
ing cotton cloth and " felting" short woolen 
threads upon its surface by means of heat, 
moisture, and pressure. 

A purchaser may be fully convinced from 
appearance and feeling of cloth that it is all 
wool, but the only safe method is to take home 
samples and make tests. 

Immerse the samples of so-called wool in 
oil of vitriol for about two minutes. This 
will destroy the cotton but the wool will 
not be affected. 

Another test is to moisten a sample with 
fifty per cent nitric acid. This will turn the 
wool yellow but the cotton will retain its 
color. Use the same tests for linens as you 
do for woolens. If the sample is genuine 
linen it will not be affected by oil of vitriol, 
but any cotton that is in it will be destroyed. 

Imitation damask is made to-day by means 
of printing upon the surface with a sort of 



124 The Dress You Wear 

transparent mucilage the designs. By im- 
mersing a sample in hot boiling water and 
allowing it to boil several minutes the design 
will disappear. 



Questions 

1. How should you fold material in cutting 
so both pieces of garment will not be cut for one 
side? 

2. In case material is too narrow to fold what 
would you suggest to prevent cutting two pieces 
for one side? 

3. What length is suitable for girls from three 
to five years to wear their skirts ? 

4. Should all girls of thirteen years of age 
wear skirts the same length ? 

5. Who is best fitted to decide the length of 
a girl's skirt? 

6. What is the usual length approved of for 
girls of fourteen? 

7. Suggest an acid test for silk. 

8. Suggest ways that wool may be adulter- 
ated. 

9. How may we test wool ? 
10. How may we test linen? 



125 



CHAPTER XI 
Pressing 

Pressing is not ironing. In pressing after 
sponging always press with the threads of 
material lengthwise, this helps to keep mate- 
rial smooth and straight, in good shape for 
cutting. 

All outside seams should be pressed before 
stitching, such as plaits in skirts, hems, fac- 
ings, cuffs, collars, etc. 

It will be very noticeable how much easier 
it is to stitch. 

After stitching press again over the stitch- 
ing, otherwise there will be an unfinished 
look where stitching is done. This pressing 
over the stitching should be done on the right 
side, using press cloth which should be a 
piece of heavy unbleached muslin, at least 

one yard with no dressing on it. If you find, 
126 



The Dress You Wear 127 

after you have bought it, it gets stiff and 
sticks to the iron, have it laundered to take 
out the dressing, then your press cloth is 
ready for use. Nearly all pressing is done 
over a damp press cloth. 

In some cases, with such material as broad- 
cloth, two thicknesses of the dry press cloth 
is put next the material, then the damp press 
cloth on top. This steams the material in- 
stead of wetting it and does not take the luster 
off. 

Too much stress cannot be applied to the 
importance of good pressing. A pressing 
iron should weigh at least twelve pounds; 
the weight is quite important. 

Do not take hold of a seam ahead of iron 
and pull on it to straighten it out or you will 
stretch the seam in pressing. 

Open the seam but allow material to remain 
smooth in a natural position. 

In semi-fitted dresses and coats the little 
crosswise wrinkles that are apt to come in the 
gores between the seams at waist line, can 



128 The Dress You Wear 

be removed by dampening the seam with a 
wet sponge and stretch with a pressing iron 
from two inches above to two inches below the 
waistline. Do not have the iron too hot so 
it will scorch (try it on a piece of material to 
make sure you will not burn your garment). 
Do not move the iron all the time as in 
ironing. 

Be sure it will not burn, then let it rest 
until you think the material is pressed dry 
underneath. Always press material until 
thoroughly dry, then move iron one length 
ahead. 

To Take Shine off Worn Garments, or from 
Pressing 

To remove the shine caused by pressing 
the following suggestions will prove helpful. 

When the garment is finished and thor- 
oughly pressed there is liable to be a gloss or 
shine on places where heavy pressing is done. 
This may be removed by steaming and 
brushing. 



The Dress You Wear 129 

Dip one end of press cloth in water, using 
dry as you can wring it; place one thickness 
of dry sponge cloth over the material, then 
the damp cloth, having the pressing iron very 
hot. Move quickly back and forth over the 
wet muslin two or three times, remove, have 
whisk broom ready, and while steaming brush 
briskly and you will find the mark of pressing 
gone. 

In serge and other hard twill material that 
become shiny with wear, if the steaming 
process does not remove it satisfactory, use 
a fine sandpaper and ruff the material a little. 

This shine is caused by all fiber ends of 
material, which is nap, being pressed down or 
worn off smooth. 

Finishing Top of Skirt 

After the skirt is fitted and stitched finish 
the seams by binding, notching, or overcast- 
ing. 

Put upper and under facing on placket as 
taught in subject on plackets, press, and 



130 The Dress You Wear 

inspect } 7 our work to be sure it is correctly 
done. 

Now we are ready to put the skirt on the 
band or belt. A skirt should always be eased 
into the band or belting, as it gives an easy 
natural fitting skirt. I do not mean a gath- 
ered skirt but the skirt should be a little 
larger than the band or belting so as to ease 
onto it, the belting a little tighter than the 
skirt. 

If the belting is used it should be made 
just the size of the waist unless very wide, 
like three inches, then it should be about one 
inch larger and little darts, about four or five 
on a side, should be taken in the bottom of the 
belting. Take up as small a seam as can be' 
by machine and graduate to a point about one 
and one-half inches from the edge. This 
makes the belting large enough at top and 
keeps it from slipping too far below the waist- 
line at the bottom. Finish the ends of the 
belt with a hem. Do not have belting large 
enough to lap. 



The Dress You Wear 131 

Put hooks and eyes on allowing round eyes 
to extend out one-eighth inch and hooks to 
set back from the edge the same distance. 
This will bring the belting just to meet but 
not lap. Close and pin placket. 

The right side of the belting should have 
the hooks on, the left side the eyes, as all 
plackets close from right to left. Leave 
placket closed and pinned to place full length. 
Place belting so the left side with eyes on will 
come to the edge or extension of under side of 
placket. 

Find center of front and back of skirt, also 
center of front and back of belting, pin centers 
together, allowing the skirt to extend one- 
half inch above the belting. Pin from center 
front to center back easing in a little to have 
the skirt fit nicely. Fit the skirt again to see 
if it hangs well and if it swings front at the 
bottom in front while on the figure remove 
pins at back and lift the skirt a little to 
correct the trouble. 

The lifting of the skirt may make it a little 



132 The Dress You Wear 

too large at waistline and you may be obliged 
to take it in at the top again. 

The one-half inch of material left at the 
top of skirt may be turned over belting to 
wrong side and basted down. Stitch skirt 
through the belting and material from right 
side close to the edge. Finish raw edge by 
trimming off frayed edges even width all 
around. 

If material is light weight, turn under edge 
and cat-stitch or fell. If heavy it should be 
covered with a piece of bias in cotton or silk 
and edges felled to belting. The bias piece 
should extend beyond the belting on the right 
side of placket where the skirt laps. 



Questions 

1. In pressing should we move the iron with 
the crosswise or lengthwise thread? 

2. Should outside seams be pressed before 
stitching? 

3. Is it necessary to press again after stitch- 
ing? 

4. On which side should this last pressing be 
done? 

5. What kind of cloth would you suggest for 
a "press cloth?" 

6. Give directions for pressing broadcloth. 

7. Is pressing necessary to a perfect finish of a 
garment ? 

8. What weight should a pressing iron be? 

9. How may wrinkles at waistline be success- 
fully removed ? 

10. How would you suggest removing the 
shine in serge and other hard twill materials? 

1 1 . What causes the shine ? 

12. Give directions for finishing the top of a 
skirt. 



133 



CHAPTER XII 

Lines 

The lines of a gown mean gracefulness and 
artistic becoming effect from the top of the 
collar to the bottom of the hem. 

I am pleased to note that there are few, 
yet some of them still exist, who think if 
they can only keep the waist a certain number 
of inches and quote it often, that no matter 
how much fat bulges out over the top and 
bottom of the corset they are still slender and 
girlish. 

This type of woman wants her dresses all 
fitted tight, especially across the bust and 
around the hips, believing she makes herself 
look small, when she is only emphasizing the 
fact that she is stout. She looks as if she had 
outgrown her clothes, drawing attention to 

what she wishes to conceal. 
134 



The Dress You Wear 135 

One can never look well in a tight corset 
with the flesh bulging above and below. 

A first-class modiste will refuse to make 
a gown if her customer is not properly 
corseted, because she would send out a 
piece of work that would hurt her es- 
tablishment. She could not make good 
lines. 

No gown or suit is ever stylish or smart 
unless becoming. 

Loose, comfortable-fitting, graceful lines 
conceal while tightness emphasizes. 

It is as essential for the stout woman to 
dress loosely as the extremely small figure, 
the designs should be entirely different but 
both types would be improved. 

We have all noticed the middle-aged or 
elderly woman with clothing too tight ; her 
large arms, short neck, and abdomen pro- 
truding. This unsightliness is usually due 
to tight corseting and the tight clothing 
makes an exhibit of what the poor woman 
thinks to conceal. 



136 The Dress You Wear 

No gown maker should attempt to build 
a gown on such a foundation. 

I once read an article on dress from one 
of our great European designers which I have 
never forgotten. He said : "I'd rather people 
did not buy my gowns or wear my designs 
than to mutilate them by poor fitting, making 
them too tight, or wearing hats or shoes that 
spoil them." 

If you see an exceptional, smart costume 
on the street, notice hat, gloves, and shoes 
form part of the whole costume and look as if 
they were a part of it ; then look again and you 
will see that the person wearing the gown has 
correct lines underneath, or if not correct, 
they have been carefully and artistically 
concealed by the fitting. 

A well-made, good-fitting corset is all 
important and should be the first consid- 
eration. 

There are some things that we cannot 
afford and some things we cannot afford to 
go without. 



The Dress You Wear 137 

Combining Colors 

In combining colors nature never makes a 
mistake. 

The usual, pleasing combinations that the 
French produce are a careful study of nature's 
art in combining colors. 

A walk through your own flower garden, 
the park or woods in summer, will furnish all 
the color hints you could desire. 

I have heard it said, a weaver in trying to 
reproduce a piece of beautiful moss on his 
loom found he had produced velvet. 

Putting Canvas in Front of Coat 

All linen canvas must be shrunken. You 
will need a yard and a half to two yards of 
soft linen canvas of good weight, but not 
stiff with dressing, the amount depends on 
the length of coat. 

Cut the linen for facing on a four-inch bias. 
This is done by placing the pattern for facing 
on the linen with one end of front edge of 



138 The Dress You Wear 

pattern four inches from the edge of linen, 




PINNING CANVAS IN FRONT OF COAT 

giving a four-inch slant from top to bottom 
on front edge of linen. 

Linen facing should be cut as wide as coat 
facing is to be. 

Place linen on work-table, then coat front 
on top with front edges, neck, and shoulder 
even, pin across at neck and shoulder, pins 



The Dress You Wear 139 

about two inches apart. Place one hand on 
garment where pins are holding coat firmly 
on table, with the other hand brush coat down 
tight over linen, pin again about four inches 
below the first pinning across facing. Con- 
tinue the same process to the bottom of 
coat. You will find when finished the linen 
is slack and coat material tight on linen. 
This is as it should be, as all interlinings as 
well as linings in coats must be easy or slack 
inside. 

Leave coat front in same position with 
linen underneath and baste together using 
the diagonal or bias basting as taught in pre- 
vious lesson, basting from top to bottom, first 
row (taking the stitches toward you), the 
second row from bottom to top, and continue 
back and forth until the linen is firmly basted 
on. 

Remove pins, crease edge by turning a 
seam's width, basting and pressing the entire 
length of front edge across top of revere. 
Pull bastings and tape front of coat. 



140 The Dress You Wear 

The tape should be narrow linen tape about 




BASTING AND TAPING FRONT OF COAT 

one-fourth inch wide and well shrunken be- 
fore using. 

Pin tape from top to bottom of coat so it 
will be snug on the linen about the same 
as the material or nearly so. Pin edge of 
tape on crease just made a seam's width 
from the edge, place tape inside the crease 



The Dress You Wear 141 

as the linen outside is to be cut away before 
stitching. 

Baste tape. The part that turns over for 
the revere should be caught to the material 
by numerous rows of the padding-stitch. 
Just catch into the coat. Pin tape on the 
line of turning for revere. This tape should 
be a little tight to prevent stretching. Try 
coat on and if coat swings back at bottom pin 
tape a little tighter in front of coat. 

If coat swings too far over it is too tight 
and should be loosened a little at front edge. 
Now sew, using overhand-stitch, over and 
over the edge of tape, placing needle close to 
tape for each stitch and not through to show 
on right side of material. 

Pin facing on, placing the right side to right 
side of coat. Pin this on so it is a little easier 
than the coat material, baste on outer edge 
of tape, cut away canvas on outside of the 
tape, and stitch the edges of coat and facing 
together one-eighth of an inch beyond the 
edge of tape and linen. 




THE LINING OF THE COAT 



I 4 2 



The Dress You Wear 143 

Pull basting, cut away one-half of the seam 
on one edge, which should be the edge of the 
coat proper. 

Press seam open flat. 

Turn both edges of seam (but not the fac- 
ing) over on tape and canvas being careful 
to have edge flat and smooth in the turning, 
and the narrow edge of seam you just turned 
off should lie underneath the wide side of full- 
width seam. 

Cat-stitch firmly to linen. Turn facing, 
crease in line of stitching, and baste along edge 
of coat, also seam. Hold work in left hand 
and baste the entire facing over the linen, 
using the diagonal basting as you did to baste 
the linen to front of coat, only this time you 
hold the work over the left hand slightly 
rolling to have the facing basted in easy. 

Miscellaneous 

Stitch against the pile in velvets, plushes, 
and corduroy, and seams are less noticeable. 



144 The Dress You Wear 

Clip basting every three or four inches and 
remove as soon as stitching is done. 

In silks, velvets, broadcloths, and many 
other materials a long basting pulled out 
is liable to make holes or even tear the 
material. 

To put collar on a dress or coat, find 
center back of garment and collar, pin to- 
gether at this point then pin from the center 
back to the right end and from the center 
back to the left, and if the collar does not 
come cut even in front you did not locate the 
center back carefully. Try again. 

When cutting a garment, if no seam or fold 
of material comes directly in front or back in 
waist or skirt, the centers should be marked 
by mark-stitching or tracing the full length 
of waist and skirt as it is necessary in fitting 
to place centers in correct position on the 
figure, also in joining waist, skirt, and belt to 
have centers meet correctly. 



The Dress You Wear 145 

A careful and painstaking beginning brings 
successful ending. 

A little extra marking, observing all 
notches, reading all instructions that come 
with the pattern, as they are important, will 
save so much trouble later on in the making 
of the garment. 

About Basting 

A New York tailor, at the head of a large 
establishment, gave the estimate of the time 
consumed in the proper basting of a lady's 
coat, by a first-class workman, to be twenty 
hours' work, while the machine stitching could 
be done in one hour, yet the average dress- 
maker thinks basting a waste of time. If 
such dressmakers will try thorough bast- 
ing with a short needle, basting with short 
stitches, about one-fourth inch long (I have 
seen them from an inch to an inch and a half 
long) they will be able to notice much im- 
provement in their own work. 



146 The Dress You Wear 

This is why it is said a woman cannot make 
a tailored suit, also why they are called 
"dressmaker's coats." 

There are many women in the tailoring 
business that do work equal to the best done 
by men, but they are never out of a position, 
or are doing a profitable business themselves, 
so we only hear about the less successful 
ones. 

It is as important in good dressmaking to 
do thorough, painstaking work as in tailoring, 
therefore never slight your basting. 

Press cushions are made about the shape 
of an egg, only not quite so rounding on top 
and about fifteen inches long, and seven and 
one-half inches wide. They may be stuffed 
with saw-dust, cork, or light-colored woolens, 
cut in small pieces. This pad is quite neces- 
sary in pressing curved seams; also a pad 
smaller, about one-third or one-half the size, 



The Dress You Wear 147 

that will fit in the upper part of sleeve and 
shoulder when pressing. 

All braid should be shrunk before using. 

Cleaning Black Silk 

Use the kitchen table that has no finish. 

Brush out and dust material. Lay flat on 
table, have ready for use some strong cold 
tea and a sponge. Lay piece of silk flat on 
table, brush or rub lightly with sponge, wet 
in cold tea. The silk will cling to the table; 
rub lightly on both sides, smooth out with the 
hand, and leave it on the table until dry. It 
will look like new. Do not press; it will not 
need pressing if left to thoroughly dry. 

Soap bark is fine to use in washing all wool 
materials, especially in black or colors, as it 
will not take out the color or injure the fabric. 

To remove machine oil, especially from 
silk, place a blotter under and over the oil 



148 The Dress You Wear 

spot, place a moderately hot iron on top and 
leave it there. The oil will be drawn out 
into the blotter. 

Buckles are sometimes used, made of the 
same material as the dress to catch up a 
drapery or hold material in place. To make 
foundation, draw and cut a pattern the size 
and style you wish. Cut out of cardboard. 
First cover the cardboard with a bit of sheet 
wadding, then the material may be wound, 
plaited, or gathered on. 

Foundations may also be made in buckram 
and if not stiff enough wired, then they will 
bend in shape. They are sometimes covered 
with beads or other trimmings. 

Selvages are liable to draw. Either cut 
them away or clip the edges to prevent bad 
results. 

To prevent thread knotting or snarling 
while sewing, after you have broken off the 



The Dress You Wear 149 

thread from the spool, hold ends tight in both 
hands and stretch before using. 

In stitching thin silk, chiffons, crepe de 
chine, etc., that are liable to pucker while the 
stitching is being done, place a narrow strip 
of paper under the material and pay no spe- 
cial attention to it only to see that it remains 
over the feed and stitch as if it were not there. 

Basting is to hold material firmly in place 
while the fitting and stitching is being done. 

If carelessly basted with too long, crooked 
stitches, the material will not hold well in 
place while stitching is being done and the 
result is anything but satisfactory. We will 
have work that looks home-made instead of 
professional. 

When tight lining is necessary, for sheer 
dresses, use the heavy net which is sold in the 
drapery, department, or dry-goods stores. 
The best grade is strong and does not stretch. 



150 The Dress You Wear 

To correct round shoulders fit a tight lin- 
ing, rather snug, across the back through the 
shoulders and armhole, rather high and close 
in front. Stand erect while this is being done. 
The lining will not be real comfortable to 
wear at first but if you will continue to wear 
it you will get used to it and get accustomed 
to an erect position. 



GLOSSARY 

Accordian Plaiting, laid in plaits, like the bel- 
lows of an accordian, by machinery, then 
steamed and dried to retain this position. 

Ajour (a zhur), an aperature made by joining 
two pieces together. 

Albatross (al ba tross), a fine wool material. 

Albert Cloth, each side of a different color. 

Allover, design extending over entire material. 

Antique (an tek), ancient style. 

Applique (a pie ka), a separate design applied to 
the garment it is to adorn. 

Apron (a pron), outside garment to protect dress. 

Arabesque (ar a besk), an outlined ornamenta- 
tion in cords, stitchery, or applied pieces. 

Armure (ar mur), a fancy weave with small raised 
design. 

Astrakhan (as tra kan), a long pile, closely curled 
surface to represent the fur of the Astrakhan 
goat. 

Basket weave, woven as a basket weave. 

Basque (bask), a tight-fitting waist which ex- 
tends below the waistline, worn by Basque 
peasants of France. 
151 



152 Glossary 

Batiste (ba test), a cotton material slightly 

heavier than lawn; French word for lawn. 
Batting, cotton or wool prepared in sheets for 

interlining. 
Bayadere (ba ya der), a material having stripes 

running from selvage to selvage. 
Beaver (be ver), a thick woolen cloth tne wrong 

side of which is finished with soft, thick nap. 
Bedford Cord, a closely woven material having 

a corded surface, used for women's wear. 
Beige (beg), an undyed wool. 
Bengaline, a plain, round corded weave, covered 

with silk or wool. 
Bertha, a ruffle, or cape. 
Bias, goods cut on long side of a right-angled 

triangle. 
Bishop Sleeve, used in a bishop's robe, and thus 

named. 
Blind-stitch, a stitch not showing. 
Blouse, a loose waist dropping over the belt. 
Bobbinet, an open lace. 
Bodice, a tight-fitting waist or girdle. 
Bolero (bo le ro), a Spanish jacket. 
Border, trimming usually on edge of material. 
Boucle (boo cl), a woolen material with little 

tufts on surface. 
Bouffant (boo fant), full of puffy effect. 
Bourette (boo ret), a material on which appears 

rough threads. 



Glossary 153 

Bradenburg, a fastening for military jacket. 

Bretelle, a sort of cape. 

Brilliantine, a mohair with glossy surface. 

Broadcloth, a fine, glossy woolen. 

Brocatelles (bro ka tels), a coarse fabric of silk 

or wool with figured design. 
Broche (bro sha), brocade which has an em- 
broidery effect. 
Brussels New, a plain net made first in Brussels 

but now made in other countries. 
Buckram, a coarse material, linen or cotton used 

for stiffening. 
Buckskin, soft as dogskin with more defined twill. 
Butcher's Linen, a plain fabric of linen used for 

dress purposes. 
Cabochous (ca bo shous), a jet, glass, steel, or 

pearl ornament used in dress or millinery. 
Cambric, a fabric used for lining in linen or 

cotton. 
Camel's Hair, a fabric made from the hair of the 

camel or goat, soft and silky. 
Canton Flannel, a twilled fabric with nap on one 

or both sides, used for interlinings of coats 

and for underwear. 
Canvas, a coarse-threaded cotton or linen fabric 

used for stiffening in collars, cuffs, and coat 

fronts. 
Challis (shally), a soft woolen or woolen and silk 

fabric. 



154 Glossary 

Chambray (sham bra), a fine, soft cotton ma- 
terial. 

Champagne (sham pan), ecru with golden tint. 

Chantilly (shan te ye), a town in France once 
noted for the manufacture of lace. 

Chenille (she nel), a thick velvet}^, corded mate- 
rial of silk or worsted. 

Cheviot (chev i ut) , a material of the cheviot wool 
woven diagonally. 

Chic (shek), smart style. 

Chiffon (shif fon), a thin soft silk material usu- 
ally crepe-like in appearance. 

Chiffon Velour, velvets of the lightest and soft- 
est kind. 

Corduroy, a material woven in ribs with pile like 
velvet, usually of cotton. 

Corselet (korslet), body dress. 

Cravat, a neck-cloth. 

Crepe (krap), a fabric made of raw silk with 
crinkled appearance. 

Crepe de Chine (krap de shen), a crimped fabric, 
made of raw silk, with soft finish. 

Cretonne (kre ton), a cotton material with large 
floral designs. 

Damask, to decorate with flowers and rich de- 
signs in the weaving. 

Decolette (day col tay), gown cut low in neck. 

Denim, a coarse, cotton drilling of uncertain 
origin. 



Glossary 155 

Dimity, a stout, cotton corded fabric. 

Doeskin, a firm woolen cloth with a firm soft 
surface. 

Drapelles, very light clothes. 

Drilling, a heavy, twilled fabric of linen or cotton. 

Drop Skirt, an underskirt, used in place of lining. 

Duchesse (duch es), a twilled satin fabric with 
smooth surface. 

Ecru (e cru), a color unbleached in linen, cotton, 
or silk. 

Empiecement, a piece set in. 

Empire, fashionable dress during reign of Na- 
poleon I, taken from Greek costumes. 

Eolienne, a fabric made of silk or wool, very sheer. 

Epaulette (ep pau let), military shoulder trim- 
ming. 

Esprit, the same as Point d'Spree, a singled or 
clustered dotted bobbinet. (Esprit means a 
spirit). 

Eton, a short sleeveless jacket. 

Eyelet, a round hole worked in garment for 
lacing. 

Faeonne (fa son nay), ornamental. 

Faille (fal) or (fa y), a soft silk. 

Farmers' Satin, a cotton lining of high luster. 

Festooned, a draping in curves. 

Fichu (fe shoo), a three-cornered piece thrown 
across the shoulders crossing and draping in 
front. 



156 Glossary 

Filet (fi lay), a square mesh net. 

Flannel, a soft-textured cloth with light nap. 

Flannelet, a soft material resembling flannel used 

for underwear. 
Foulard (Fu lard), twilled soft silk. 
French Gathers, one short and one long stitch. 
Fringe, beads, chenille, or heavy silk or wool 

threads fastened to a narrow band. 
Frogs, ornamental braid-fastenings for coat. 
Gaberdine (gab ar den), a coarse frock or loose 

upper garment formerly worn by Jews. 

(Webster). 
Galatea, a lustrous, strong heavy material of 

cotton. 
Gauntlet Cuff, one flaring at top. 
Georgette Crepe, a sheer crepe-like silk. 
Gigo (jig o), mutton-leg sleeve. 
Gingham, a fabric woven in checks or stripes 

nearly alike on both sides. 
Girdle, fitted belt at waist. 
Glace, a thin, shiny silk. 
Grosgrain (gro grain), a stout double-corded 

silk with luster. 
Gros Jersey (gro Jersey;, a textile fabric of 

heavy quality and close weave. 
Guimpe (gimp), yoke and sleeves attached to 

an underbody, worn with a sleeveless low- 
necked dress. 
Guipure, corded silk trim. 



Glossary 157 

Habit, a skirt without plaits, plain across the 
back. 

Habutai, a Japanese silk. 

Homespun, cloth woven by hand or an imitation 
of such cloth. 

Honoton Lace, made by stitching braid upon lace. 

Illusion, a plain delicate lace, used for dresses, 
scarfs, veils, etc. 

Jabot (zha bo), or (jab o),, neck ornament. 

Jupe Cloche or Jupe Tonneau, a cloth, especially 
for auto riding. 

Khaki (kak ke), a tan cloth of cotton used es- 
pecially in army wear. 

Landsdowne, a very beautiful silk and wool 
material. 

Lapel, the revere of a garment. 

La Petite, small. 

Lawn, a very fine linen or cotton fabric with an 
open texture, the same as used in the sleeves 
of a bishop's gown. 

Liberty Crepe, soft crepe material. 

Lingerie (long zhe re), garments made of sheer 
material. 

Maline, a soft gauzy silk. 

Marabou, soft down. 

Medallion, a design of lace appliqued to a gar- 
ment. » 

Melton, thick, smooth woolen cloth used for 
tailored garments. 



158 Glossary 

Mercerized, a chemical process of hardening the 
threads to produce a shiny effect. 

Meroir, the glossy effect from ironing silk. 

Messaline, soft dress silk fabric. 

Modiste, a fashionable dressmaker. 

Mohair, a fabric made from the hair of the An- 
gora goat; a glossy material. 

Moire (mwa re) or (mwar), a watered silk. 

Motif, a design in lace, beads, or embroidery. 

Mouseline de Soire, a silk muslin, fine and soft. 

Negligee (neg li zha), an easy unceremonious 
attire. 

Organdie, a thin transparent cotton. 

Oriental Lace, an elegant lace made on a schiffle 
machine. 

Ottaman, a heavy, corded silk usually used for 
wraps and coats. 

Oxford, a wool fabric in dark gray mixtures. 

Pagoda, a Grecian sleeve. 

Panel, a narrow lengthwise piece of material used 
in princess dresses and skirts. 

Panne (pan), long nap velvet, pressed down and 
extremely lustrous. 

Pannier, side draperies. 

Passe (pas sa), out of style and date. 

Passementerie, beaded trimming. 

Pastel Shades, soft colorings. 

Peplum, a short flary skirt or flounce on bottom 
of waist. 



Glossary 159 

Persian Lamb, fur of baby lambs. 

Picot (pe co) , an ornamental finish for collars and 

cuffs, machine made. 
Pongee, silk in natural color. 
Poplin, a good wearing silk, combined with 

woolen, linen, or cotton. 
Postillion, a kind of basque. 
Raglan, a large coat, formerly worn by Lord 

Raglan'of England. 
Reding-gote, an outside garment or polonaise 

opened down the front. 
Rep, a corded weave extending crosswise. 
Revere, lapel. 
Ruche, a strip of material gathered in the center 

or on the edge and fastened to a band. 
Sateen, a lustrous, soft cotton material. 
Selesia, a closely woven, fine lining material. 
Selvage, edge of material, finished. 
Serge, a material in wool woven diagonally. 
Shantung, a heavy pongee silk of natural colors. 
Silkaline, a mercerized cloth, light weight. 
Stole, ornamental material worn each side of 

front. 
Suede (swade), undressed leather. 
Sylvette (sil vet), sport cloth. 
Taffeta, a light-weight silk alike on both sides. 
Taillurs (ta lurs), frock with matching coat. 
Tailored, without frills or furbelows, plain in 

outline. 



160 Glossary 

Tap, a mass of tow ready to put on a distaff. 

Taupe (top), dark gray. 

Torchon, a bobbinet lace of simple pattern. 

Tricot (tre ko), a soft slightly ribbed cloth. 

Tunic, an overcoat. 

Valenciennes (va len si enz), a narrow edging of 

lace. 
Valour (ve lur), similar to plush, French for 

velvet. 
Velveteen, velvet in cotton. 
Venetian, a wool material with twilled surface. 
Voile (vwal), a loosely woven material in silk, 

wool, and cotton. 
Volant, a ruffle. 

Warp, lengthwise thread of material. 
Woof, crosswise or filling thread. 
Worsted, twisted thread spun from woolen. 
Zephyr, called zephyr gingham, silky appearance 

with warp coarser than woof. 
Zibeline, a hairy wool material. 



COURSE OF STUDY 

FOR 

. EVENING DRESSMAKING CLASS 
first month 

First Week: 

Lesson I. Organization and Lecture, attend- 
ance, punctuality, and advancement. 

Lesson II. Materials. 

Lesson III. Nap, demonstration and lecture. 

Lesson IV. Right side of material, individual 
instruction. 

Second Week: 

Lesson V. Suitable material for extreme figures, 
demonstration and lecture. 

Lesson VI. Shrinking materials, demonstra- 
tion and individual instruction. 

Lesson VII. Demonstration of bad effects of 
making up materials without shrinking. 

Lesson VIII. Review. 

ii 161 



1 62 Course of Study — Evening Class 

Third Week: 

Lesson IX. Taking measures, demonstration 
and individual instruction. 

Lesson X. Taking measures, continued. 

Lesson XL Taking measures, concluded. 

Lesson XII. Alteration of patterns, demon- 
stration and lecture. 

Fourth Week: 

Lesson XIII. Alteration of patterns for extreme 
figures, demonstration and individual in- 
struction. 

Lesson XIV. Alteration of sleeve pattern, 
demonstration and individual instruction 
(changing two-piece coat sleeve pattern to a 
bishop sleeve). 

Lesson XV. Cutting and shaping cuffs, demon- 
stration and individual instruction. 

Lesson XVI. Questions. 

second month 

First Week: 

Lesson XVII. Alteration of waist patterns, de- 
signing and cutting collars, demonstration 
and individual instruction. 

Lesson XVIII. Alteration of skirt patterns. 

Lesson XIX. Alteration of skirt patterns, 
continued, cutting yokes, circular skirts, 



Course of Study — Evening Class 163 

circular bands, circular flounces from seven 
gore foundation. 
Lesson XX. Making a plaited skirt from a 
seven gore foundation, lecture, questions. 

Second Week: 

Lesson XXI. How to add length to a skirt, 
and how to enlarge a skirt, demonstration 
and individual instruction. 

Lesson XXII. To change style of pattern, 
demonstration and lecture. 

Lesson XXIII. Style of pattern for different 
figures, demonstration and individual in- 
struction. 

Lesson XXIV. Examination. 

Third Week: 

Lesson XXV. Equipment, the necessity of, 

with object lesson. 
Lesson XXVI. Dress form, making lining and 

individual instruction. 
Lesson XXVII. Lining making, continued. 
Lesson XXVIII. Lining making, concluded. 

Fourth Week: 

Lesson XXIX. Pinning before basting, dem- 
onstration showing how to keep one side 
of seam from puckering. 



164 Course of Study — Evening Class 

Lesson XXX. Material required for a garment, 
demonstration and lecture. 

Lesson XXXI. Amount of material, demon- 
stration and individual instruction. 

Lesson XXXII. Review. 

THIRD MONTH 

First Week: 

Lesson XXXIII. Lecture on thoroughness and 

care (being thoroughly competent means 

that you are master and have no reason to 

worry over your work). 
Lesson XXXIV. Fitting a skirt, demonstration 

and lecture. 
Lesson XXXV. Basting and review on pinning, 

individual instruction. 
Lesson XXXVI. Questions. 

Second Week: 

Lesson XXXVII. To prevent twisting of two 
piece sleeve, demonstration. 

Lesson XXXVIII. Basting velvets and silks, 
lecture and demonstration. 

Lesson XXXIX. Diagonal basting and pad- 
ding stitch, demonstration, and individual 
instruction. 

Lesson XL. Review. 



Course of Study— Evening Class 165 

Third Week: 

Lesson XLI. Running-stitch, back-stitch, com- 
bination-stitch, individual instruction. 

Lesson XLII. Tailors' fell-stitch and over-cast- 
ing, individual instruction. 

Lesson XLIII. Tailors' tacks, overhanding, in- 
dividual instruction. 

Lesson XLIV. Questions. 

Fourth Week: 

Lesson XLV. French seam and hemming, in- 
dividual instruction. 

Lesson XLVI. Cat -stitch or catch -stitch, 
feather-stitch, individual instruction. 

Lesson XLVII. Fagoting, individual instruc- 
tion. 

Lesson XLVIII. Examination. 

fourth month 

First Week: 

Lesson XLIX. Buttonhole, lecture, their pur- 
poses, ornamental and necessary. 

Lesson L. Buttonhole and buttonhole-stitch, 
demonstration and individual instruction. 

Lesson LI. Buttonhole and buttonhole-stitch, 
concluded. 



1 66 Course of Study— Evening Class 

Lesson LII. Tailors' buttonhole and stitch, 
demonstration and individual instruction. 
Working over cord. 

Second Week: 

Lesson LIII. Tailors' buttonhole, concluded. 

Lesson LIV. Eyelets and loops, demonstration 

and individual instruction. 
Lesson LV. Eyelets and loops, concluded. 
Lesson LVI. Review. 



Third Week: 

Lesson LVI I. French knots, demonstration and 
individual instruction. 

Lesson LVIII. Sewing on buttons, demonstra- 
tion and individual instruction. 

Lesson LIX. Covering button molds, demon- 
stration and individual instruction. 

Lesson LX. Review. 



Fourth Week: 

Lesson LXI. Smocking and marking material 

for smocking. 
Lesson LXII. Smocking, continued. 
Lesson LXIII. Smocking, concluded. 
Lesson LXIV. Questions. 



Course of Study — Evening Class 167 

fifth month 

First Week: 

Lesson LXV. Beads, three methods of sewing 
on, individual instruction. 

Lesson LXVL Tailors' pockets, finished by 
drawing facing through, and individual 
instruction. 

Lesson LXVII. Pockets, continued and ques- 
tions. 

Lesson LXVIII. Pockets, with lap turned 
down, individual instruction. 

Second Week: 

Lesson LXIX. Small pockets, like vest pocket 

with lap turned up, demonstration and 

individual instruction. 
Lesson LXX. Pockets, continued. 
Lesson LXXI. Pockets, concluded. 
Lesson LXXII. Examination. 

Third Week: 

Lesson LXXIII. Bound buttonholes, demon- 
stration and individual instruction. 

Lesson LXXIV. Patch pockets, demonstration 
and individual instruction. 

Lesson LXXV. Crow-foot, demonstration and 
individual instruction. 

Lesson LXX VI. Crow-foot, concluded. 



1 68 Course of Study — Evening Class 

Fourth Week: 

Lesson LXXVII. Arrow-head, demonstration 
and individual instruction. 

Lesson LXXVIII. Continuous placket, de- 
monstration and individual instruction. 

Lesson LXXIX. Continuous placket, con- 
cluded. 

Lesson LXXX. Questions. 

SIXTH MONTH 

First Week: 

Lesson LXXXI. Tailors' plackets, demonstra- 
tion and individual instruction. 
Lesson LXXXTI. Tailors' plackets, continued. 
Lesson LXXXIII. Tailors' plackets, concluded. 
Lesson LXXXIV. Review. 

Second Week: 

Lesson LXXXV. Cutting bias and shirring 
bias bands, demonstration and individual 
instruction. 

Lesson LXXXVI. Shirring bias bands, con- 
cluded. 

Lesson LXXXVII. Bias bands, demonstration 
and individual instruction. 

Lesson LXXXVIII. Bias bands, concluded. 



Course of Study — Evening Class 169 

ihird Week: 

Lesson LXXXIX. Bias and crosswise straps, 
demonstration and individual instruction. 

Lesson XC. Milliners' folds, demonstration and 
individual instruction. 

Lesson XCI. Bands, straps, and folds, con- 
cluded. 

Lesson XCII. Questions. 

Fourth Week: 

Lesson XCII I. Couching, demonstration by 
hand and machine. 

Lesson XCIV. Covering cord, demonstration 
and individual instruction. 

Lesson XCV. Shirring over cord, demonstra- 
tion and individual instruction. 

Lesson XCVI. Examination. 

seventh month 

First Week: 

Lesson XCVI I. Marking for sewing on hooks 
and eyes, demonstration and individual 
instruction. 

Lesson XCVIII. Circular yokes, demonstra- 
tion and individual instruction. 

Lesson XCIX. Circular yokes, continued. 

Lesson C. Circular yokes, concluded. 



170 Course of Study — Evening Class 

Second Week: 

Lesson CI. Making a tight fitting (lace or net) 
yoke with high fitted collar attached to 
fitted lining, demonstration and individual 
instruction. 

Lesson CII. Lesson CI. continued. 

Lesson CIII. Lesson CI. concluded. 

Lesson CIV. Review. 

Third Week: 

Lesson CV. Tucking circular skirts, demon- 
stration and individual instruction. 

Lesson CVI. Tucking circular skirts concluded. 

Lesson CVII. Review, fitting a skirt, demonstra- 
tion and lecture. 

Lesson CVIII. Finishing top of skirt, demon- 
stration and lecture. Questions. 

Fourth Week: 

Lesson CIX. Getting the length of a skirt, 
demonstration and lecture on position and 
use of skirt ruler. 

Lesson CX. Putting the hem in a skirt and 
basting in sleeve, demonstration and in- 
dividual instruction. 

Lesson CXI. Bound open welt seam and strap 
seam, demonstration and individual in- 
struction. 

Lesson CXII. Questions. 



Course of Study — Evening Class 171 

eighth month 

First Week: 

Lesson CXIII. Imitation strap seam and slot 
seam, demonstration and individual in- 
struction. 

Lesson CXIV. Raw edge lap seam and fell 
seam, demonstration, and individual in- 
struction. 

Lesson CXV. Review. 

Lesson CXVI. Matching flowers and stripes 
and matching plaids, demonstration and 
individual instruction. Questions. 

Second Week: 

Lesson CXVII. Cutting a garment so as to not 
have two pieces for one side, and length of 
girl's skirts for different ages, lecture. 

Lesson CXVIII. Pressing and to take shine off, 
demonstration and individual instruction. 

Lesson CXIX. Finishing the top of skirt, lec- 
ture. 

Lesson CXX. Examination. 

Third Week: 

Lesson CXXI. Lines, lecture and class to 

discuss lines. 
Lesson CXXII. Combining colors, lecture. 



172 Course of Study— Evening Class 

Lesson CXXIII. Putting canvas in front of 
coat, demonstration, and individual in- 
struction. 

Lesson CXXIV. Putting tape in front of coat, 
demonstration and individual instruction. 

Fourth Week: 

Lesson CXXV. Review of Lesson CXXIII. 

Lesson CXXVI. Review of Lesson CXXIV. 

Lesson CXXVII. Questions. 

Lesson CXXVIII. Review. 

ninth month 

First Week: 

Lesson CXXIX. Study of Glossary. 
Lesson CXXX. Miscellaneous. 
Lesson CXXXI. Study of Glossary. 
Lesson CXXXII. Miscellaneous. 

Second Week: 

Lesson CXXXIII. Study of Glossary. 

Lesson CXXXIV. Miscellaneous. 

Lesson CXXXV. Review. 

Lesson CXXX VI. Questions. 

Third Week: 

Lesson CXXXVII. Study of Glossary, 

Lesson CXXXVIII. Miscellaneous. 



Course of Study — Evening Class 173 

Lesson CXXXIX. Review. 
Lesson CXL. Questions. 

Fourth Week: 

Lesson CXLI. Study of Glossary. 
Lesson CXLI I. Miscellaneous. 
Lesson CXLIII. Examination. 
Lesson CXLIV. Closing. 



1000 Shorter Ways 
Around the House 

A Handbook of the Home, Its Building, Its 
Furnishing, Its Management 

By 
Mae Savell Croy 

12°. $1.50 net. By mail, $1.65 

" Indispensable to the good housekeeper. 
Its concise, useful information, covering every 
phase of the internal regime, is arranged under 
appropriate headings which, even without the 
aid of the comprehensive index that is sup- 
plied, guide the reader to the facts he seeks. 
The book embraces everything from the erec- 
tion and furnishing of the home to its main- 
tenance, according to the highest standards of 
comfort, cleanliness, and order. For every 
problem and emergency the author offers a 
solution." — Omaha Bee. 

G. P. Putnam's Sons 

New York London 



1000 Things a Mother 
Should Know 

By 
Mae Savell Croy 

Author of " 1000 Shorter Ways Around the House," etc. 

12°. $1.50 net. By mail, $1.60 

Information is given regarding tiny babies 
and growing children: their clothes, their 
care, their food, their training, and their en- 
tertainment. The book embraces everything 
from the prenatal precautions to be observed 
by the prospective mother to the rearing of 
the child to a healthy adolescence. Not only 
are the bodily needs intelligently specified, but 
the character-building influences that should 
surround the child are conveyed in the excel- 
lent suggestions offered. Health rules and 
medical care, hygiene and sick-room sugges- 
tions, are a valuable supplement to the chap- 
ters dealing with the treatment of the child 
when in health. Arranged under appropriate 
headings and comprehensively indexed. 

G. P. Putnam's Sons 

New York London 



Putnam's Homemaker Series 

By OLIVE GREEN 

Each, i6mo. Cloth. Net, $1.00. By mail, $1.10 

No more unique or welcome gift for a brain-fagged 
house-wife can be imagined than this little series of 
handbooks in their quaint plaid gingham covers, com- 
prising any number of tried recipes. 

I. What to Have for Breakfast 

" One might conscientiously use a number of enthusiastic adjectives 
about Olive Green's Guide to the Cheerful Life. It is a small book, 
but any one who looks it over can find a hundred reasons for owning it, 
and, failing to publish it, the board of Home Missions lost an opportu- 
nity." — Life. N. Y. 

" One of the sanest brochures on the food question yet published." — 
N. Y. Evening Mail. 

"Whoever follows its laws will bring peace to her household and 
kindly fame to herself. It is the best book in all the world with which 
to start the fresh day, and an intelligent application of its rules may set 
in motion the very springs of heroism, joy and achievement." — Chicago 
Tribune. 

II. Everyday Luncheons 

" Here are 365 menus, one for every day in the year, besides a variety 
of recipes that have a toothsome aspect in print and have not been found 
wanting in practice, as we are assured. There are some introductory 
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phy with a coating of humor." — Pittsburg Gazette. 

"A helpful companion for any woman seeking to vary her menus. The 
recipes are economical in many cases new, and in all cases practical." — 
The Congregational ist. 

III. One Thousand Simple Soups 

"Its information is all practical and every recipe contained within its 
covers is well worth trying. It will prove a valuable addition to the 
domestic shelf of any housewife whether she be her own cook or not." — 
Newark Advertiser. 

" The recipes are well-classed and are distinctly good. The neat lit- 
tle volume deserves a prominent place upon the kitchen shelf." — Chicago 
Record-Herald. 



G. P. PUTNAM'S SONS 

New York London 



Putnam's Homemaker Series 



IV. How to Cook Shell-Fish 

"Olive Green, that merry, instructive writer of readable cook books, 
is again to the front with a dear little gingham-bound volume entitled 
How to Cook Shell-Fish. . . Recipes almost innumerable, varied 
in character but universally tempting, follow, with blank pages for new 
ones. Here is a delightful gift for the chafing-dish expert or the dainty 
housekeeper." — Chicago Record-Herald. 

"The directions are so full and explicit that they will commend the 
book to any housekeeper." — San Francisco Chronicle. 

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besides the recipes." — Burlington Free Press. 

"It is well worth the attention of every housewife." — Boston Times. 

V. How to Cook Fish 

"Miss Green is indeed a past mistress of the art of cooking; her rules 
may always be relied upon in every way." — Providence Journal. 

" Up-to-date and reliable — a book all housewives will grasp greedily." 
— Detroit News. 

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— A lb any A rgus. 

VI. How to Cook Meat and Poultry 

"Miss Green, whoever she may be, knows how to write cook books. 
Merely reading over the recipes is enough to make one hungry." — Cleve- 
land Plain Dealer. 

" A practical and useful book."— Providence Journal. 

*' A capital little volume." — N. Y. Press. 

VII. How to Cook Vegetables 

" The recipes are all clear and practical." — N. Y. Sun. 

" Models of their kind, lucid, brief, businesslike." — Boston Herald. 



VIII. Salads 
IX. Desserts 
X. Every-Day Dinners 

Send for descriptive circular 

G. P. PUTNAM'S SONS 
New York London 



LIBRARY OP GUNbHtbb 




